Alessandro Pintus in München

01 - Rubedo - Photo by Simona Toncelli
Alessandro Pintus, Rubedo, 2013/ Foto: Simona Toncelli  


"kill butoh in order to let butoh be born again"

Vor zwei Tagen kam Alessandro Pintus von Rom nach München auf das Sea.Sons Butoh-Festival und lotet seitdem die Bühne des i-camp mit einem roten Wollknäuel aus. Alessandro Pintus ist Butohtänzer aus Italien, ein tanzender Butohist, Dramatik und Komik in Persona und ein absoluter Performer.

Pintus' Premiere „Rubedo“, die gestern in München uraufgeführt wurde, war ein riesen Erfolg. Die Performance ging länger als geplant, nahm ungeahnte Wendungen und endete schließlich mit einer unerwarteten Brandverletzung des Künstlers an seinem linken Zeigefinger, weil ihm während der Vorstellung die Spucke ausgegangen war. Heute Abend führt er Rubedo erneut im i-camp auf. Angesichts der Tatsache, dass unkontrollierbare Momente im Tanz von Alessandro eine zentrale Rolle einzunehmen scheinen, die unter Umständen auch das Publikum betreffen können, verspricht die Performance heute abend ein einziges Abenteuer zu werden. Wer dieses Ereignis verpasst hat, kann hier als Trost ein Interview lesen, dass ich gestern mit dem Butohisten geführt habe.

Alessandro, how did you first meet butoh?
That was 1996. I was studying psychology in rome and was playing in a theatergroup. My teacher asked me to play a certain role. I did not get it, and he gave me the advice to take a look at Michael Clark. I was fascinated by the play of Michael Clark. He was not playing, he was dancing his role, he was mooving his body to play. Then I found out, that Michael Clark was involved in Butoh...and that's how i got to Butoh.

What happend then?
First I lost my self. I took part in workshops in Italy. But i was not satisfied. Then i took part in workshops in Europe. But still i was not satisfied. Two years i studied in Japan, at the Kazuo Ohno Studio, i made a lot of research, met different teachers, met Hijikatas wife, who was still alife. Finally i found myself and went back to Italy.

So, after 12 years of intensive research, can you tell us please: what the fuck is Butoh?
Buto doesn't exist (smiling).

ok, thank you for the answer.
You're wellcome (laughing).

But, could you get a little bit in detail?
(takes a slug of Tegernseer Hell) Butoh was Hijikatas research, but Butoh changed. Butoh was also made for beyond stage, that shares an aesthetic. And the western countries took the aesthetics as the final result of butoh, but for me butoh is a philosophy, it is an endless research. The butoh, that i dance on stage is not butoh, that is just dance, butoh is research, unabling me to offer me on stage and to give all myself to the audience.

What about the japanese Hijikatas style?
I think the butoh which startetd with Hijikata can be an experience again, and all of us has to do research in our own culture. The germans have to go deep in their culture and has to study the potentiality of butoh.

Which cultural space is your point of reference?
I come from Sardinia, one of the poorest areas in Italy. Sardinia wa isolated for many years, life is still original, a lot of treasures to discover there. I had to dig in my heart, in my cave, in my shit and i came out with this flower (shows me a red flower picked from the garden of the theater).

You supported Sea.Sons to be the first Butohfestival in Munich. What was your main intension?
To make the festival not only to an occassion for dancing butoh. But more to give the the chance for different generations to come together, to continue their researches, to exchange ideas and to spread up butoh philosophy.

Panta Rei- Seasons of the Body
Butoh Workshop von Alessandro Pintus
Fr, 24. 5. bis So, 26.5. // 10h bis 18h
Teilnahmegebühr: 160 Euro
Anmeldung bei A.Wenzlik: 0160.96487583
oder S.Büyüktürkler: 0157.39611500

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