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since 1979
Soloist dancer with the Pina Bausch Tanztheater Company
from 1989 to 1996
as permanent soloist dancer
since 1996
as guest soloist dancer for the repertory
(Café Mueller, Nelken, Palermo, Viktor, 1980, Ahnen, Bandonéon)
since1979 had the great pleasure to dance in the following pieces:
Café Mueller - Sacre du Printemps - Arien - Kontakthof - Renate wandert aus - Macbeth - 7 Tod Sünde - Iphigenie - Orfeus
and to dance ad participate to the creation of:
Legend of Chastity (creation in December 1979) - 1980 (creation in May 1980) - Bandoneon (creation in December 1980) - Walzer (Creation in June 1982) - Nelken (creation December 1982) - On the mountain we heard a scream (creation in may 1984) - Viktor (creation in May 1986) - Ahnen (creation in March 1987) - Palermo Palermo (creation in December 1989) - The piece with the Boat (creation in January 1993)
film
the complaint of the imperatrice (Pina Bausch) in 1989
Habla con ella (Pedro Almodovar)
"Pina" (Wim Wenders)
---------------------------------- 🇬🇧 Dancing with Pina Bausch --- in english --------------------- 🇫🇷 pour le français clic ici
I began my discovery of dance and of its univers as I was twenty thee years old. But, without being able to give any rational explanation, I very quickly had the feeling that this univers was, since my birth, familiar to me..
A few years before I had the same experience with horse riding. My horse-riding teacher, Michel Martin in Aix-en-Provence use to say about me: « he dos not know it yet, but he is a horse man.. ». Even now I still feel totally at home with horses as I also do do with any animal.
My first dance teacher was Anne Marie Porras. She is a modern jazz dance teacher and choreographer. You can read about my meeting with Anne Marie if you click on her name, up on the navigation list.
Five years later, as I presented myself to Pina Bausch for an audition, I knew that she was looking for male dancers but, at this time, I never saw any work from her. My audition was a very intensive moment of meeting
After three days of private audition, just me and Pina in front, I came out of it very exhausted but full of the happiness that can have a kid who does not realise what it really was, but has the intuition that a very beautiful and big thing just happened to him.
Afterwards, discovering little by little all the works of Pina, I could only say: « I met a personne who shout the things that I always wanted to shout and, do it using the same language then the one of my dreams. »
I just had from then, to open my ears, my eyes, and learn how to open my heart. All my life I will feel gratefulness to her for the trust that she gave me, and for all the beautiful and strong things what I could learn and live.
In fact, to stop with the company has been much more difficult then to get into it.
Well somehow, I did not really stop my work with the company. I just decided to stop my contract as permanent dancer, and became a guest dancer, just performing in the repertory pieces which I used to perform before. But for sure what did stop, was the possibility to do take part of new works with Pina.
Why did I do such a thing?. Certainly not because I ha no more interest in Pina’s work, but my desire to discover other forms of stage expression, but overall, my desire to do choreography made me take this very hard decision to become independent artist…
🇫🇷---------------------------------- Danser avec Pina Bausch --- en français
J’ai commencé ma découverte de la danse et de son univers á l’age de 23 ans mais, sans que je puisse donner de raison bien rationnelle, il me vint très rapidement á l’esprit et au coeur que je venais de rencontrer lá un monde qui sans que je le sache m’était familier de naissance si tant est soit que celá puisse avoir un sens. J’avais eu quelques années auparavent exactement le même sentiment avec l’équitation (mon moniteur, Michel Martin á Aix-en-Provence, disait de moi, „- il ne sait pas encore mais c’est un homme de cheval..“) et encore maintenant je me sens totalement dans mon univers au milieu des cheveaux ainsi que á chaque contact avec les animaux .
Lorsque je me suis présenté á Pina Bausch pour une audition, je savais qu’elle était á la recherche de danseurs masculins pour remplacer certaines défections du dernier moment, mais je n’avait jamais vu aucune de ses pièces. Mon audition fut un très intensif moment de rencontre et j’en ressortit après trois jours complètement épuisé mais remplit d’un bonheur d’enfant comblé qui n’arrive pas á réaliser ce qui vient de se passer, mais a le pressentiment qu’une très belle et grande chose vient de lui arriver.
Puis, en découvrant peu á peu les différentes oeuvres de Pina, je ne pouvais que dire:
„- Je viens de rencontrer une personne qui „crie“ les choses que j’ai toujours voulu „crier“ et cela avec le même language que celui qui habite mes rêves.“
Il ne me restait plus que á ouvrir mes oreilles, mes yeux et apprendre á ouvrir mon coeur. Je serais toute ma vie reconnaissant de cette confiance qu’elle m’a donnée et qui m’a permis de tant apprendre et de vivre tant de choses si fortes.
En fait quitter la compagnie me fût beaucoup plus difficile que d’y entrer.
For more information please visit:
www.pina-bausch.de
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