In the eyes of this "dance theater" founder, the walking subway, the bustling streets, and even the rivers and mountains are all stages for Pina to sway at will. The movements and plots she designed are accurate and imaginative. At the same time, the stage elements such as body, vocals, music, and images are also used by her, which finally formed a strong expression that captivates people's hearts, forcing me to follow every dancer's eyes closely. Eyes, expressions and gestures. For a moment, I even blurred the lines between dance, image, words and words.
The troupe's dancers liken their dance and spiritual mentor to a big house full of treasures. Like words, there are endless ways to express dance. Only a relentless explorer like Pina can discover the constant source of inspiration to expand the boundaries of dance. From Café Mueller (1978) to The Rite of Spring (1975) to 2006's Full Moon, Pina's inspiration and reflections flash deep in every new dance element and challenge theme. How is it different from poetry when a dance without words has both the beauty of form and the expressiveness of inner emotion?
Pina is gone, her rhythm may not be replicated, the dancer's purity and persistence will continue. Because dance is the gesture of the soul.
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