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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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sun.

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Then comes autumn,

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leaves falling.

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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

18
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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.

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She consistently questioned us.

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That's how we became the paint,

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to colour 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

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so that she could see and feel it.

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I danced in Café Müller 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

34
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that it makes a big difference,

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behind closed eyelids,

36
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whether I look down, or like this.

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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.

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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 materialised

47
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from just a table and four chairs.

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Typical Pina! I remember.

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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
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1, 2, 3, 4, 5, 6, 7, 8, 9, 10. I'm coming!

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Kazuo Ohno also left us

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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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because 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...

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That she showed me the moves?
Come off it!

78
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But it's true!

79
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I insisted that she danced.

80
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That was the only way for people
to see her on stage!

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I never wanted
to dance Cafe Müller.

82
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When Pina asked me to dance her part

83
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I said yes.

84
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But I never really learned it.

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I wanted her to dance forever.

86
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I saw her do Cafe Müller so often.

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I wanted to sense what she was feeling.

88
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She moved as if she had
a hole in her tummy,

89
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as if she'd risen from the dead.

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When I'm on stage today,

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I try to imagine Pina

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in her pain,

93
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but also in her strength

94
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and her loneliness.

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How often

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did I dance
Café Müller with Pina,

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and see her hair, back, arms,

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knew, with my eyes shut,

99
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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 in the morning

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to devise something for the next day.

106
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That was at the beginning of the company.

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We'd meet at Barmen station

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every morning

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for coffee and a roll

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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!

115
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Well, the younger years were good, too.

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I was 24 when I came to Wuppertal.

117
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But at 40, more and more,

118
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I thought, "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 Iphigenia

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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,
"Lützchen, be good!"

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And I replied as always,

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"Pinchen, enjoy it!"

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She left, turned at the door, and said,

129
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"Don't forget,
you have to scare me!"

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Right away my head started to spin.

131
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That was more to the point
than talking for hours.

132
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New in the company, I didn't yet grasp

133
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how Pina worked.

134
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And she didn't explain it.

135
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I was lost.

136
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Until I realised

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I had to pull myself up by my own hair.

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This is veal!

139
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What is honesty?

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What's our responsibility

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even when we dance?

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Pina taught us to stand for what we do,

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for every gesture,

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every step and every move.

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Pina always wanted to bring out

146
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the best in all her dancers.

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Once she told me,

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"Your fragility is also your strength!"

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For Full Moon

150
01:04:13,320 --> 01:04:17,233
she requested a gesture related to "joy"

151
01:04:17,920 --> 01:04:21,037
or to the pleasure of moving.

152
01:04:21,600 --> 01:04:24,433
The question really inspired me.

153
01:04:24,480 --> 01:04:28,598
From the movement I presented,

154
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she created an entire scene.

155
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I was always in a corner

156
01:05:16,640 --> 01:05:18,949
or hiding behind someone,

157
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when she was giving corrections.

158
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Perhaps because
I respected her so much.

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01:05:24,360 --> 01:05:26,396
Once she caught me.

160
01:05:26,440 --> 01:05:28,795
She asked me with a sad voice,

161
01:05:28,840 --> 01:05:31,513
"Ditta, why are you so afraid of me?"

162
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"I didn't do anything."

163
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She was right.

164
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And I gradually lost my shyness.

165
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Sometimes she said things like,

166
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"Go on searching!"

167
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But that was all she said.

168
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It meant you had to keep searching

169
01:09:11,360 --> 01:09:13,078
without knowing where to look,

170
01:09:13,120 --> 01:09:16,271
nor whether you were on the right track.

171
01:13:34,800 --> 01:13:38,270
Pina, I still haven't
dreamed about you!

172
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Please visit me in my dreams.

173
01:13:42,400 --> 01:13:43,913
I got news from Daphnis,

174
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who dreams of you all the time.

175
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It's not the same.

176
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It would be nice if you showed up!

177
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I'm waiting for you, Pina.

178
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Pina left us so quickly,

179
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so surprisingly.

180
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I think that in the end

181
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she left everything behind

182
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and was free.

183
01:14:50,400 --> 01:14:52,709
That's why I wanted to give her

184
01:14:53,240 --> 01:14:54,958
this moment of lightness,

185
01:14:55,760 --> 01:14:58,797
this feeling of weightlessness.

186
01:19:33,920 --> 01:19:36,275
As the daughter of
Dominique and Malou

187
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I was the first child in the company.

188
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I grew up inside the Tanztheater.

189
01:19:42,880 --> 01:19:44,757
Life without Pina?

190
01:19:44,800 --> 01:19:46,677
I just don't know what it is.

191
01:20:28,320 --> 01:20:31,551
When I was new in Wuppertal

192
01:20:31,600 --> 01:20:34,512
and confused about a few things,

193
01:20:34,560 --> 01:20:36,516
she simply said...

194
01:21:42,880 --> 01:21:44,279
For Pina,

195
01:21:44,320 --> 01:21:46,470
the elements were very important.

196
01:21:46,520 --> 01:21:49,159
Whether sand or soil,

197
01:21:49,200 --> 01:21:51,395
stones or water...

198
01:21:51,440 --> 01:21:54,955
Somehow, even icebergs
and rocks appeared on stage.

199
01:21:55,000 --> 01:21:57,639
When we dance, they become...

200
01:21:57,680 --> 01:21:59,033
obstacles.

201
01:21:59,080 --> 01:22:02,834
You have to go
against or through them,

202
01:22:02,880 --> 01:22:04,871
or climb over them...

203
01:29:25,800 --> 01:29:28,360
Pina was a radical explorer.

204
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She looked deep into our souls.

205
01:29:31,080 --> 01:29:34,629
There was one particular subject
she kept asking us about:

206
01:29:34,680 --> 01:29:37,035
What are we longing for?

207
01:29:37,080 --> 01:29:40,356
Where does all this
yearning come from?