My eyes see dreams
One of Pina Bausch’s final creations Vollmond (Full Moon) shows how her career went from The Rite of Spring to the joys of Spring.
Everybody’s kissing in Vollmond, either leaping onto chairs to smooch their beloved or pecking them so hard on the lips they force their partner across the stage in surprise.
Happiness and playfulness abound as the members of Tanztheater Wuppertal Pina Bausch throw themselves with carefree abandon into the thin river of water that crosses beneath the extraordinary rock that set designer Peter Pabst plonks slightly awry of centre-stage. They clamber all over this rock, this giant lump of solidity in the midst of enthralling human madness, and they throw water at it, causing shimmering shards of wonder. Only Helena Pikon remains grumpy, declaring in an anguished voice how waiting makes her cry, a melancholic emotion quite at odds with the brazen sugar-rush of energy that whizzes around her.
Vollmond is a piece that makes you want to jump up on the stage and join in the games – it just looks so much fun to perform. Women are trawled excitedly on poles through the water, the guys skid about in socks and everyone swims, splashes and behaves in the innately childish way every adult wishes they could if only social convention would allow it. Well, pah! to the rules, next time it rains I’m diving full-pelt into the nearest puddle.