As is well known, the German choreographer Pina Bausch (1940-2009) has been called the high priestess of dance theatre. Her choreographical works brought forward her and her dancers’ personal experiences on and off the stage.
Some of her best work are reflections on the countries where she performed, such as Japan, Turkey, South Korea and Brazil. In the choreography that honours Brazil, called “Water” (2001), she hints at our country’s natural exuberance, with its long wide rivers and its vast ocean coast, but went as far as suggesting that water shortages are a source of malnutrition.
In the series, as in all her oeuvre after 1976, Bausch questioned and broke with harmonious movements and plastic beauty in dancing.
Whenever I think of gastroperformance and its theoretical basis, Pina Bausch is there. If we take everything that has been written on the disruptions created by her and substitute ‘gastroperformance’ for ‘dance’, I realise the extent to which this new art concept bears on the expression of feelings, while breaking away from commonplace beauty and harmony.