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Soon it will be spring again.

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Grass sprouting.

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Then comes summer,

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tall grass,

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SUD.

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Then comes autumn,

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leaves dropping;

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and then

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winter.

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Spring

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summer

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autumn

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winter!

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There are situations of course

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that leave you utterly speechless.

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All you can do is hint at things.

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Words, too, can't do more

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than just evoke things.

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That's where dance comes in again.

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Pina was a painter.

21
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She consistently questioned us.

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That's how we became the paint,

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to color her images.

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For example she'd ask for

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“the moon”?

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I depicted the word with my body

27
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so that she could see and feel it.

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I danced in “Café Muller” myself.

29
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We all have our eyes closed.

30
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When we did a reprise,

31
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I couldn't get the feeling back,

32
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a feeling that mattered so much to me.

33
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All of a sudden I noticed

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that it makes a big difference,

35
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behind closed lids,

36
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whether I look down, or like this!

37
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That made all the difference!

38
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The right feeling was there immediately.

39
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Unbelievable how crucial that is!

40
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The tiniest detail matters!

41
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It's all a language

42
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that you can learn to read.

43
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We developed the piece

44
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in two weeks, Dominique!

45
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The speed was unbelievable!

46
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Amazing how the idea materialized...

47
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from just a table and four chairs.

48
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Typical Pina! I remember.

49
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Then BANG, chairs!
- Exactly.

50
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Then BANG! Rolf played with the chairs,

51
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and they became integral to the piece.

52
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So beautiful!

53
00:21:35,687 --> 00:21:37,772
1,2...7,8,10. I'm coming!

54
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Kazuo Ohno also left us

55
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not too long ago.

56
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I imagine him and Pina up there

57
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dancing together...

58
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leaping from one cloud to another.

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Pina had the most penetrating eyes!

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No one has ever read me that way.

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Everything I tried or pretended to be

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disappeared under her gaze.

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Instead, she saw something

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I was afraid of

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as I didn't know it yet.

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Who was Pina?

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She combined fragility and strength.

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She was also capable of

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endlessly listening and watching,

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and overcoming all her limits.

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So I imagine her like a house

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with a huge attic full of treasures.

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Pina wasn't going to dance.

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You always forgot your moves.

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We refused to do it without her!

76
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She got involved because you insisted...

77
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...to show me the moves?
Come off it!

78
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But it's true!

79
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I insisted that she dance!

80
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That was the only way for people

81
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to see her on stage!

82
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I never wanted to dance “Cafe Muller.”

83
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When Pina asked me to dance her part

84
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I said yes.

85
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But I never really learned it.

86
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I wanted her to dance forever.

87
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I saw her do “Café Muller” so often.

88
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I wanted to sense what she was feeling.

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She moved

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as if she had a hole in her tummy,

91
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as if she'd risen from the dead.

92
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When I'm on stage today,

93
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I try to imagine Pina

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in her pain,

95
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but also in her strength

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and her loneliness.

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How often

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did I dance “Café Muller” with Pina,

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and see her hair, back, arms,

100
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knew, with my eyes shut,

101
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that she was aware of us all!

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She saw everything,

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even with closed eyes!

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We danced and laughed all the time.

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We were always together

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until four o'clock at night

107
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to devise something for the next day.

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That was at the beginning of the company.

109
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We'd meet at Barmen station

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every morning

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for coffee and a sandwich

112
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and go over the day's work.

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You always felt more than just human

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working with Pina.

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It was good

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being an older dancer with Pina!

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Well, the younger years were good, too.

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I was 24 when I came to Wuppertal.

119
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But at 40, more and more,

120
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I thought

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All this space, all these opportunities!

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Pina's eyes turn everything we do

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into something even more beautiful.

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To be old and a child at the same time.

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After an awful rehearsal of “Iphigenie”

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Pina didn't say a word to me.

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Before the performance,

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she came and said as usual,

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“Luetzchen, be good!”

130
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And I replied as always,

131
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“Pinchen, enjoy!”

132
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She left, turned at the door, and said,

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“Don't forget, you have to scare me!”

134
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Right away my head started to spin.

135
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That was more to the point
than talking for hours.

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New in the company, I didn't yet grasp,

137
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how Pina worked.

138
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And she didn't explain it.

139
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I was lost.

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Until I realized

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I had to pull myself up by my own hair.

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This is veal!

143
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What is honesty?

144
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What's our responsibility

145
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even when we dance?

146
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Pina taught us

147
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to stand for what we do

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for every gesture,

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every step and every move.

150
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Pina always wanted to bring out

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the best in all her dancers.

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Once she told me,

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“Your fragility

154
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is also your strength!”

155
01:07:13,255 --> 01:07:14,965
For “Full Moon”

156
01:07:15,591 --> 01:07:19,511
she requested a gesture related to “joy”

157
01:07:20,179 --> 01:07:23,307
or to the pleasure of moving.

158
01:07:23,891 --> 01:07:26,644
The question really inspired me.

159
01:07:27,102 --> 01:07:30,397
From the movement I presented,

160
01:07:30,731 --> 01:07:33,442
she created an entire scene.

161
01:08:19,905 --> 01:08:21,532
I was always in a corner

162
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or hiding behind someone,

163
01:08:23,951 --> 01:08:25,619
when she was giving corrections.

164
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Perhaps because I respected her so much.

165
01:08:29,331 --> 01:08:31,375
Once she caught me.

166
01:08:31,709 --> 01:08:34,002
She asked me with a sad voice,

167
01:08:34,545 --> 01:08:36,755
“Ditta, why are you so afraid of me?

168
01:08:37,089 --> 01:08:38,632
I didn't do anything.”

169
01:08:38,966 --> 01:08:40,592
She was right.

170
01:08:40,926 --> 01:08:43,804
And I gradually lost my shyness.

171
01:12:17,184 --> 01:12:19,311
Sometimes she said things like,

172
01:12:19,645 --> 01:12:21,104
“Go on searching!”

173
01:12:21,521 --> 01:12:23,565
But that was all she said.

174
01:12:23,899 --> 01:12:25,984
It meant you had to keep searching

175
01:12:26,318 --> 01:12:27,903
without knowing where to look,

176
01:12:28,278 --> 01:12:30,781
nor whether you were on the right track.

177
01:17:00,717 --> 01:17:04,387
Pina, I still haven't dreamed about you!

178
01:17:05,222 --> 01:17:08,099
Please visit me in my dreams.

179
01:17:08,725 --> 01:17:10,310
I got news from Daphnis,

180
01:17:10,644 --> 01:17:12,145
who dreams of you all the time.

181
01:17:12,520 --> 01:17:13,563
It's not the same.

182
01:17:13,939 --> 01:17:16,066
It would be nice if you showed up!

183
01:17:16,983 --> 01:17:18,568
I'm waiting, Pina.

184
01:18:05,448 --> 01:18:07,450
Pina left us so quickly,

185
01:18:08,618 --> 01:18:09,911
so surprisingly.

186
01:18:11,162 --> 01:18:12,956
I think that in the end

187
01:18:13,540 --> 01:18:15,792
she left everything behind

188
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and was free.

189
01:18:19,546 --> 01:18:21,840
That's why I wanted to give her

190
01:18:22,549 --> 01:18:24,134
this moment of lightness,

191
01:18:25,176 --> 01:18:28,138
this feeling of weightlessness.

192
01:23:15,133 --> 01:23:17,218
As the daughter of Dominique and Malou

193
01:23:17,885 --> 01:23:20,096
I was the first child in the company.

194
01:23:20,847 --> 01:23:23,182
I grew up inside the “Tanztheater.”

195
01:23:24,767 --> 01:23:26,185
Life without Pina?

196
01:23:26,853 --> 01:23:28,563
I just don't know what it is.

197
01:24:12,148 --> 01:24:15,151
When I was new in Wuppertal

198
01:24:15,485 --> 01:24:18,154
and confused about a few things

199
01:24:18,655 --> 01:24:20,323
she simply said:

200
01:25:29,809 --> 01:25:30,893
For Pina,

201
01:25:31,227 --> 01:25:33,146
the elements were very important.

202
01:25:33,563 --> 01:25:36,023
Whether sand or soil,

203
01:25:36,566 --> 01:25:38,317
stones or water...

204
01:25:38,693 --> 01:25:39,819
Somehow, even

205
01:25:40,153 --> 01:25:42,029
icebergs and rocks appeared on stage.

206
01:25:42,572 --> 01:25:44,824
When we dance, they become...

207
01:25:45,324 --> 01:25:46,367
obstacles.

208
01:25:46,701 --> 01:25:50,246
You have to go against or through them,

209
01:25:50,621 --> 01:25:51,956
or climb over them...

210
01:33:32,499 --> 01:33:34,710
Pina was a radical explorer.

211
01:33:35,127 --> 01:33:37,296
She looked deep into our souls.

212
01:33:38,047 --> 01:33:41,383
There was one particular subject
she kept asking us about:

213
01:33:41,800 --> 01:33:43,802
What are we longing for?

214
01:33:44,261 --> 01:33:46,889
Where does
all this yearning come from?