Musical Collaboration
Matthias Burkert ,
was born in Duisburg in 1953, and studied piano, trumpet and singing at the Wuppertal college of the Cologne music academy. Having completed his studies, in 1978 he took up a position teaching piano there. From 1976 he was musical director of Wuppertal’s children’s theatre. He soon became exposed to the work of Pina Bausch and was deeply moved. His greatest passion was improvisation and he had an extensive knowledge of music. In 1979 she engaged him to work at the Tanztheater Wuppertal. Through intensive collaboration with Pina Bausch, Burkert had a decisive influence on the musical aspect of the performances, but also appeared on stage in some pieces. Since 1995 he has held joint responsibility for music at the Tanztheater Wuppertal with Andreas Eisenschneider.
Andreas Eisenschneider, was born in Lüneburg in 1962
and grew up in Celle, where he trained as a sound technician at the town’s theatre after finishing school. He worked on numerous productions up until 1988, eventually landing in Essen where he worked with directors such as Hansgünter Heyme and Jürgen Bosse. The composer Alfons Nowacki became his most important mentor, taking him to theatres throughout Germany and the world. He had a wide knowledge of music and was easily able to gage the musical requirements of each production. In 1995 Pina Bausch engaged him at the Tanztheater Wuppertal where, together with Matthias Burkert, he manages every aspect of music, from research for new productions to sound engineering at performances.
對許多人來說，是全然的陌生。鮑許創作的演出中，舞者不僅僅跳
導演暨編舞 Director and Choreographer
地賦予現代舞新的定義。烏帕塔舞蹈劇場致力耕耘一場革命─一場
舞台暨服裝設計 Set and Costume Design
舞，他們也對話、歌唱，有時亦會哭或笑；但這罕見的創舉，成功
解放並重新定義全球舞蹈的革命。舞蹈劇場形成一種獨特的類型，
舞者 Dancers
啓發了全球的編舞家，也影響了劇場本身與古典芭蕾。這股在全球
掀起的新定義，可歸功於鮑許將其作品之核心用於呼應全人類的需
求：對愛、親密關係與情緒上的安全感之需求。為實現此一目標，
鮑許發展了其獨特、百納多元文化影響力的藝術形態。在不間歇地
創新與充滿想像力的旅途上，她不懈地探尋何者圓滿了我們對愛的
需求，而何者阻饒了我們。烏帕塔舞蹈劇場自詡為首屈一指，卻不
傲慢優越的劇場；反之，烏帕塔舞蹈劇場希望能創造經驗感受：不
管是昂揚或哀傷，溫柔或衝突的經驗─有時也可能是可笑或荒謬的
體悟。烏帕塔劇場創作充滿動力與流動的畫面 來描繪內在世界，探 索人類情感精確的狀態，同時不放棄有朝一日能實現對愛的想望。
除了強調「希望」之外，高度的現實感也是鮑許作品的另一特色。
鮑許之舞作總能喚起觀眾於情緒上或肢體上的共鳴，傳遞觀賞者熟
知或經驗過的事務。鮑許於 2009 年過世前，在烏帕塔舞蹈劇場度
排練指導 Rehearsal Directors
服裝設計 Costume Design : Marion Cito, Rolf Borzik 音樂 Music : Matthias Burkert, Andreas Eisenschneider
演出長度 Duration : 45 分鐘 Minutes 首演 Premiere : May 20, 1978 演出版權 Performance Rights : L'Arche Editeur, Paris
《春之祭》DAS FRÜHLINGSOPFER (The rite of spring) Music by Igor Stravinsky 導演暨編舞 Director and Choreographer
工作夥伴 Collaboration
Marion Cito, Hans Pop
排練指導 Rehearsal Directors
諾貝特賽莫斯 譯者：史蒂夫莫理斯
Barbara Kaufmann, Dominique Mercy, Kenji Takagi
舞者 Dancers
Pablo Aran Gimeno, Rainer Behr, Andrey Berezin, Damiano Ottavio Bigi, Wladislav Bondarenko Luiza Braz Batista, Lea Burkart, Chang-Wen Hsu(徐彰玟), Ching-Yu Chi(錡靜萸), Aleš Čuček, Da Soul Chung, Ji-Hye Chung, Clémentine Deluy, Darwin Diaz, Silvia Farias Heredia, Mareike Franz, Rudolf Giglberger, Chrystel Guillebeaud, Paul Hess, Ditta Miranda Jasjfi, Scott Jennings, Daphnis Kokkinos, Kyungwoo Kwon, Thusnelda Mercy, Blanca Noguerol, Jorge Puerta Armenta, Franko Schmidt, Azusa Seyama, Julian Stierle, Michael Strecker, Fernando Suels Mendoza, Tsai-Weii Tien(田采薇), Anna Wehsarg,TsaiChin Yu(余采芩), Sergey Zhukov
Tanztheater Wuppertal
演出長度 Duration : 35 分鐘 Minutes 首演 Premiere : December 3, 1975 演出版權 Performance Rights : Boosey & Hawkes 技術總監 Technical Director
Jörg Ramershoven
技術總監 Technical Director
Fernando Jacon
音效 Sound 舞台監督 Stage Manager 舞台技術人員 Stage Technicians 服裝管理 Wardrobe 總經理 Managing Director
指壓按摩師 Shiatsu Therapeut
主要藝文支持
燈光總監 Lighting Director : Fernando Jacon 媒體公關 Press and Public Relations : Ursula Popp 總經理助理 Assistant to Managing Director : Katharina Bauer 巡演籌備 Tour organization : Claudia Irman 舞台及巡演管理 Stage and Tour Management : Felicitas Willems 行政及合作 Organization and Collaboration : Katharina Bauer, Grigori Chakhov, Claudia Irman, Ursula Popp, Ina Zentner (a.G.)
藝文支持
P I N A Tanztheater Wuppertal
B A U S C H Café Müller & Le Sacre du Printemps
鋼琴師 Pianist : Matthias Burkert 攝影 Fotographic Collaboration : Ulli Weiss (guest)
Dirk Hesse
影像 Collaboration Video : Grigori Chakhov 檔案管理 Archiving : Dr. Phil Marc Wagenbach 檔案管理助理 Collaboration Archiving : Bénédicte Billiet, Barbara Kaufmann, Grigori Chakhov 服裝 Wardrobe : Harald Boll, Silvia Franco, Andreas Maier, Katrin Moos, Ulrike Schneider 指壓按摩師 Shiatsu Therapist : Ludger Müller, Karl-Friedrich Rosenke
Ludger Müller
財團法人高雄市文化基金會
主辦單位
&
財產及商品 Properties and Merchandising : Jan Szito, Arnulf Eichholz
Andreas Maier, Ulrike Schneider
Ernesta Corvino
技術總監 Technical Dirctors : Manfred Marczewski, Jörg Ramershoven
音效 Sound : Andreas Eisenschneider, Karsten Fischer
Dietrich Röder, Martin Winterscheidt
芭蕾指導 Ballet Master
藝術總監特助 Personal Assistant to Artistic Directors : Sabine Hesseling
舞台技術 Stage Technicians : Dietrich Röder, Martin Winterscheidt
Felicitas Willems
Sabine Hesseling
芭蕾指導 ( 客席 )Ballet Masters (guests) : Etsuko Akiya, Christine Biedermann, Ernesta Corvino, Ed Kortlandt, Christine Kono, Giorgia Maddamma, Paul Melis, Janet Panetta, Antony Rizzi
燈光助理 Lighting Assistants : Jo Verlei, Peter Bellinghausen, Kerstin Hardt (a.G.), Lars Priesack (a.G.)
Andreas Eisenschneider
藝術總監特助 Personal Assistant to Artistic Directors
舞者 Dancers : Regina Advento , Ruth Amarante , Pablo Aran Gimeno, Rainer Behr , Andrey Berezin, Aleš Čuček, Clémentine Deluy, Silvia Farias Heredia, Barbara Kaufmann, Ditta Miranda Jasjfi, Scott Jennings, Nayoung Kim, Daphnis Kokkinos, Eddie Martinez , Dominique Mercy, Thusnelda Mercy, Cristiana Morganti, Nazareth Panadero, Helena Pikon, Jorge Puerta Armenta, Franko Schmidt, Azusa Seyama, Julie Shanahan , Julie Anne Stanzak, Michael Strecker, Fernando Suels Mendoza, Aida Vainieri, Anna Wehsarg, Tsai-Chin Yu, Paul White 排練指導 Rehearsal Directors and Collaboration : Bénédicte Billiet, Matthias Burkert, Marion Cito, Josephine Ann Endicott, Barbara Kaufmann, Daphnis Kokkinos, Ed Kortlandt, Dominique Mercy, Thusnelda Mercy, Cristiana Morganti, Helena Pikon, Michael Strecker, Robert Sturm, Anna Wehsarg; Guests: Malou Airaudo, Stephan Brinkmann, Hans Pop, Kenji Takagi
Pina Bausch
變的特質，將在未來的時光裡，為劇院持續保有以上這些重要價值。
Translated by Steph Morris
舞台設計 Set Design : Peter Pabst, Rolf Borzik
Dominique Mercy, Thusnelda Mercy
Rolf Borzik
NORBERT SERVOS
編舞 Choreographer : Pina Bausch
Helena Pikon Dominique Mercy Nazareth Panadero Jean-Laurent Sasportes Michael Strecker Azusa Seyama/Aida Vainieri
舞台暨服裝設計 Set and Costume Design
It began with controversy; in 1973 Pina Bausch was appointed director of dance for the Wuppertal theatres and the form she developed in those early years, a mixture of dance and theatre, was wholly unfamiliar. In her performances the players did not merely dance; they spoke, sang – and sometimes they cried or laughed too. But this strange new work succeeded in establishing itself. In Wuppertal the seeds were sown for a revolution which was to emancipate and redefine dance throughout the world. Dance theatre evolved into a unique genre, inspiring choreographers throughout the world and influencing theatre and classical ballet too. Its global success can be attributed to the fact that Pina Bausch made a universal need the key subject of her work: the need for love, for intimacy and emotional security. To this end she developed an artistic form which could incorporate highly diverse cultural influences. In consistently renewed poetic excursions she investigated what brings us closer to fulfilling our need for love, and what distances us from it. Hers is a world theatre which does not seek to teach, does not claim to know better, instead generating experiences: exhilarating or sorrowful, gentle or confrontational – often comic or absurd too. It creates driven, moving images of inner landscapes, exploring the precise state of human feelings while never giving up hope that the longing for love can one day be met. Alongside hope, a close engagement with reality is another key to the work; the pieces consistently relate to things every member of the audience knows; has experienced personally and physically. Over the thirty-six years in which Pina Bausch shaped the work of the Tanztheater Wuppertal, till her death in 2009, she created a an oeuvre which casts an unerring gaze at reality, while simultaneously giving us the courage to be true to our own wishes and desires. Her unique ensemble, rich with varied personalities, will continue to maintain these values in the years to come.
總經理 Managing Director : Dirk Hesse
Rolf Borzik
過三十六個年頭引領改造各類表演，其畢生作品一貫地直接凝視真
實，亦同時鼓舞我們勇於面對自己夢想與渴求。鮑許獨一無二又多
藝術總監 Artistic Directors : Dominique Mercy, Robert Sturm
Pina Bausch
CAFE MUELLER foto © Ulli Weiss
Rolf Borzik, was born 1944 in Posnań, and died 1980 in Essen. He studied design at the Folkwang School in Essen where he first met dancer and choreographer Pina Bausch. From 1973 until his untimely death he designed sets and costumes for the Tanztheater Wuppertal and had a decisive influence on its look. The spaces and clothes Borzik created were unusual; poetic yet closely related to the everyday. He continually played with natural elements (water, earth), and his costumes seemed lifted from daily life yet also elegant and opulent. His work opened up a whole new insight into dancing spaces and clothing, remaining influential for years after his death.
舞蹈總監，而她早期型塑出來，包含了舞蹈與劇場元素的表演形態，
館
born 1938 in Berlin, completed her dance training in her hometown under Tatjana Gsovsky, who subsequently employed her at the Deutsche Oper. From 1972 she worked with Gerhard Bohner in Darmstadt, before Pina Bausch took her on in 1976 as her assistant at the Tanztheater Wuppertal, where she also appeared as a dancer. Following the death of the set and costume designer, Rolf Borzik, in 1980, she took over costumes, extending and developing Borzik’s aesthetic approach. She persistently explores the delicate balance between elegance and the everyday and ensures that the company’s appearance remains colourful and sensuously rich.
「爭議」，是故事的開端。1973 年碧娜鮑許被任命為烏帕塔劇院的
碧娜鮑許烏帕塔舞蹈劇場 TANZTHEATER WUPPERTAL PINA BAUSCH
春之祭 穆勒咖
Marion Cito ,
《穆勒咖啡館》CAFÉ MÜLLER A piece by Pina Bausch Music by Henry Purcell
烏帕塔舞蹈劇場
Costume design
烏帕塔舞蹈劇場
碧娜 鮑許
Rolf Borzik, was born 1944 in Posnań, and died 1980 in Essen. He studied design at the Folkwang School in Essen where he first met dancer and choreographer Pina Bausch. From 1973 until his untimely death he designed sets and costumes for the Tanztheater Wuppertal and had a decisive influence on its look. The spaces and clothes Borzik created were unusual; poetic yet closely related to the everyday. He continually played with natural elements (water, earth), and his costumes seemed lifted from daily life yet also elegant and opulent. His work opened up a whole new insight into dancing spaces and clothing, remaining influential for years after his death.
合作單位
感謝單位
指定住宿
44 5 2013/
Thu. 四
/
-
Fri. 五
19:30 高雄至德堂
Program
《穆勒咖
館》
Café Müller
編舞 ¦ 碧娜•鮑許 音樂 ¦ 亨利•普塞爾
《春之祭》
Choreography: Pina Bausch Music: Henry Purcell 中場休息 Intermission
編舞 ¦ 碧娜•鮑許 音樂 ¦ 伊格爾•斯特拉溫斯基
The Rite of Spring Choreography: Pina Bausch Music: Igor Stravinsky
高雄春天藝術節 (KSAF)，在 15 萬名觀眾的掌聲喝采中，走入第四年了。
因現代舞的高度藝術性，觀眾族群向來都是藝文人口中的小眾，票房的推動一直都是高難度的挑戰，但近年來在「高雄春天藝術節」
高雄春天藝術節，不僅是高雄春天的一幅藝術風景。更為國人帶來來
自世界各地的藝術瑰寶與人文風貌、扶植在地的表演團隊與人才、推
廣文化交流與培育高雄藝文人口。同時，我們還要透過各種教育推廣
的努力推動之下，現代舞已有逐漸獲得市民青睞的趨勢。自 2010 年的法國普雷祖卡現代芭蕾舞團 (Ballet Preljocaj)、2012 年的法國
卡菲舞團 (Käfig)、英國 DV8 肢體劇場。四年來這些國際知名舞團陸續來到高雄，因為愛好藝文朋友的支持，票房屢創佳績，今年 繼以色列馬歇爾現代舞團後，更邀請到現代舞巨擘的德國碧娜鮑許烏帕塔舞蹈劇場。
活動深化累積城市的文化內涵，才能讓高雄文化大城的形象逐漸成
碧娜．鮑許的作品已五度來台，今年首次南下高雄演出，帶來最令人懷念的經典作品《穆勒咖啡館》及《春之祭》，《穆勒咖啡館》
界看見台灣。
邀請您一起見證鮑許當年如何掀起舞蹈與劇場界的革命，至今仍深深地影響全球舞壇的經典舞碼。
Kaohsiung Spring Arts Festival - Gateway to the World
Premier of Pina Bausch’s Classic Work in Kaohsiung
形。我們透過高雄春天藝術節，不僅要讓高雄人看見世界，更要讓世
With the applauses and support of 150,000 people, Kaohsiung Spring Arts Festival embarks on its fourth year. Kaohsiung Spring Arts Festival is not only an artistic landmark in the spring, but also a creation of all the artists and technicians. Each audience and every purchased ticket contribute to the festival. Meanwhile, we promote educational activities, support local performing arts teams, and shape the dynamic of a cultural city. I wish the festival can show us the world and also show the world what Taiwan is all about.
充滿強烈的個人自傳風格，是墊定其舞蹈劇場風格的代表作；《春之祭》呈現其流暢的肢體語彙，展現出鮑許獨特、強烈的美學風格。
Due to its high artistry, modern dance has more than often embraced a particular yet smaller audience, and its ticket sale has also been a challenge time and again. In recent years, with the cultivation of the Kaohsiung Spring Arts Festival, modern dance witnessed a gradual turnaround by the citizens of Kaohsiung. Internationally renowned dance companies including Ballet Preljocaj and Käfig from France, and DV8 from England were invited to the Festival and visited Kaohsiung over the course of past 4 years, and have received remarkable records of box office. This year, following the Barack Marshall Dance Theatre from Israel, we present to you the leading figure of modern dance: Tanztheater Wuppertal Pina Bausch. The work of Tanztheater Wuppertal Pina Bausch is presented in Taiwan for the fifth time, yet this year will see the dance company’s premier in Kaohsiung with its masterpieces most cherished in memory of Café Müller and The Rite of Spring. Café Müller, filled with intense autobiographical style, is representative of her Tanztheater work, while The Rite of Spring exhibits fluent body language and reveals Bausch’s unique and robust aesthetics. Together I invite you to witness how Bausch transformed dance and theatre so vigorously that lasts to date and still influences the global dance arena.
高雄市市長 Mayor of Kaohsiung City
導演暨編舞
碧娜鮑許 1940 年出生於索林根，2009 年殁於烏帕塔。
鮑許於埃森的福克旺學校，師事庫特尤斯，舞技成就非凡。
更名舉動之初雖然頗受爭議，烏帕塔舞蹈劇場仍在國際上漸
常生活經驗。他持續地使用自然元素（水與泥土），而其服裝設
久後，鮑許於 1973 年的秋天將劇院更名為烏帕塔舞蹈劇場。
鮑許說：「我在乎的是人為何而動，而不是如何動。」 德國舞蹈巨擘碧娜．鮑許 (Pina Bausch, 1940-2009) 是「舞蹈劇場」
的代名詞，也是全世界最具影響力的舞蹈家。其作品影響層面涵蓋
戲劇、音樂、影像、繪畫、舞蹈等各類藝術。她不僅是跨界藝術的
先鋒，同時是改變表演藝術的關鍵人。她所領導的烏帕塔舞蹈劇場
關係的曖昧糾葛與人生百態，都深深烙印在她的潛意識裡。舞作中
瘦骨嶙峋的女子緊閉雙眼，像幽魂般地在餐館桌椅間遊盪，伴隨著
亨利．普賽爾 (Henry Purcell) 的憂傷詠嘆調，令人無限悵然。女舞 者緩慢地移動身軀且不時重複撞牆、轉身、倒地、起身的動作，敞
鮑許的《春之祭》主要表現個人面對大眾的恐懼，以及對未知命
鮑許的作品透露強烈個人色彩；其風格向來以蒙太奇的剪輯、拼貼
過程中，經歷背叛、陷害至憐憫、愧疚的人性矛盾衝突。舞台上滿
破驚天的巨作。這位叱吒風雲的「舞蹈女神」已成為當代的傳奇人
術影片向她致敬，德國更是積極地在建構鮑許所有作品的全球數位
舞壇一代宗師鮑許在 2009 年驟逝後，烏帕塔舞蹈劇場在兩位藝
術總監多彌尼克．梅西 (Dominique Mercy) 及羅伯．史登 (Robert
Sturm) 的領導之下，仍是全球舞壇最重要的團體之一，也是國際 藝術節爭相邀請的天團。這次「2013 高雄春天藝術節」將首度邀
請到碧娜．鮑許的作品來到高雄，全團近 60 人帶來鮑許最令人懷
念的經典作品《春之祭》（1975）及《穆勒咖啡館》（1978），這 兩齣永垂不朽的名作將為高雄開拓更多國際視野。
《穆勒咖啡館》是鮑許的自傳體作品，幼年的她經常躲在父母親經 營的咖啡館桌下，觀察各式各樣、來往進出的客人。成人世界的複
雜關係，在童稚的鮑許腦海中，產生無盡的聯想及私密記憶。男女
眾褒貶不一，進而發生口角衝突與攘臂相爭，造成暴動！這幕驚人
的插曲成為現代音樂、舞蹈與表演藝術史上，最騷動人心的一段紀
台。此作除了詮釋情慾與人際關係以外，也隱喻二次戰敗後德國的
殘敗與頹喪之社會現象。
化資料網。
前衛之姿與叛逆性格的動作。當年，在巴黎香榭麗舍劇院首演時觀
錄。同樣的，鮑許的《春之祭》在 1979 年於印度演出時，也因裸
蒼鼠永遠在原地打轉，掙脫不了宿命，這個角色原來由鮑許本人登
物。2012 年德國電影名導文．溫德斯 (Wim Wenders) 以首部 3D 藝
Nijinsky，1889-1950）編舞，他捨棄優雅高技巧的芭蕾舞步，代以
開的雙臂擁抱的盡是虛無。她在旋轉門裡不斷地繞圈子，彷彿一隻
(Tanztheater Wuppertal) 成為德國最受歡迎的出口文化，更創下國
際舞壇的全新風貌！所有舞台的「禁忌」到了她手中，都轉化成石
(樹德科技大學 表演藝術系專任助理教授)
手法表現片段的情感，舞作圍繞著一個特定的核心主題由內向外逐
漸發展成形。她擅於使用重複手法，在堆疊的飽滿中引爆情緒與身
體的張力。在多數的舞作裡，鮑許大量使用口白、戲劇或幽默的對
話。早期觀眾不甚習慣這類風格，演出時還曾批評她「不是舞蹈作
品」，而《春之祭》算是她個人作品中最純粹舞蹈形式的主要代表
作。在此作中，鮑許將「恐懼」表露無遺，她曾說：「以前我因恐
懼和驚慌，而以問題是由動作開始，現在我直接從問題下手。」
俄國音樂家史特拉汶斯基 ( Igor Stravinsky， 1982-1971) 在 1913 年 推出《春之祭》，這部離經叛道的前衛作品，完全擺脫印象派與浪
漫主義，開啓了現代樂派的革命性風格。曲中繁複大膽的獨特節
奏與原始狂野的突兀和音，完全打破觀眾對「優美旋律」的習慣 音樂。第一版的《春之祭》由俄國著名芭蕾舞家尼金斯基（Vaslav
露與政治煽動，引起暴動而中斷演出！
運、死亡的畏懼、無助。在極度壓抑及不斷反抗不願成為犧牲品的
天撲飛的塵土，看著驚恐半裸的抽搐身體，逐漸崩裂肢解至最後倒
地；劇中除了驚駭與同情，也帶著無限情慾暴力。台上的紅布象徵
獻祭，女舞者們一個個如驚弓之鳥的傳遞著，最後這塊紅布成為犧
牲者的紅衣，在眾人圍觀凝視下，被活活獻祭的處女狂舞至死。
誠如鮑許所言：「如果我可以用說的，就不用跳舞了。」鮑許不願
給舞作太多說明、也不喜歡對號入座；她的作品多數沒有既定身分
與角色。藉由創作鮑許透露了許多思維、訊息及批判社會，但她仍
預留更多空間給觀者去想像，並從中窺見與自身似曾相識的經驗。
所以，鮑許的作品總是令人產生共鳴且深受感動。
鮑許說：「舞吧，舞吧…不然我們就迷失了。」 讓我們繼續看舞、跳舞，永遠不要迷失！
博濟克設計的空間感與服裝風格非比尋常：既充滿詩意又貼近日
獲認可。舞蹈劇場因融合了充滿詩意與日常生活的元素，顯
計看似由生活中隨手捻來，卻有十分優雅並飽滿。博濟克的作品
著地影響了舞蹈於國際上的發展。獲授全球各地大獎與榮譽
為舞蹈空間及服裝開啓了一道創新之門，並在其殁後，持續地展
的碧娜鮑許，毋庸置疑是當代最重要的編舞家之一。
現影響力。
藝術總監
服裝設計
開始，梅西任職於波爾多大劇院，後於 1968 年受聘於亞眠
承塔亞娜葛梭斯基。後受葛梭斯基聘任，於德國歌劇院任職。在
夏日藝術節與碧娜鮑許相遇；兩年後，鮑許力邀梅西參與其
師朵曾與蓋哈波諾在達姆施塔特合作。當舞台與服裝設計師羅夫
多明尼克梅西 1950 年生於法國的矛札克。自 1965 年
新成立的現代芭蕾舞團。梅西於 1971 年在美國的薩拉托加
瑪麗安詩朵 1938 年生於柏林，在家鄉完成其舞蹈訓練，師 1972 年碧娜鮑許邀其於烏怕塔舞蹈劇場擔任助手與舞者之前，
舞蹈劇場，梅西因而於該舞蹈劇場發展成一名傑出獨特的舞
博濟克於 1980 年過世後，詩朵接手服裝設計一職，並延伸博濟
梅西於 2001 年獲頒法國藝術及文學勳章，並於 2002 年得到
的平衡，並確保舞團色彩豐富多元，以及感官強烈的意象呈現。
者，並以其極富想像力所創造的角色，賦予多齣舞作生命力。 紐約的貝茲舞蹈及表演獎。2003 年，導演雷吉斯奧巴狄亞推
出其所導的「多明尼克梅西舞出碧娜鮑許」記錄片。鮑許逝 世後，梅西與羅伯史登姆共同擔任舞蹈劇場藝術總監一職。
克的美感。詩朵持續地在「優雅」與「常民」兩者間，探索微妙
羅夫博濟克 1944 年出生於波茲南，1980 辭世於埃森。博 濟克就學於福克旺學校研讀設計時，初與碧娜鮑許這位偉大的舞
者與編舞家相識。從 1973 年至博濟克英年早逝這段期間，博濟
克為烏帕塔舞蹈劇場進行舞台及服裝設計工作，並肩負影響力。
Director and Choreographer
Pina Bausch ,
was born 1940 in Solingen and died 2009 in Wuppertal. She received her dance training at the Folkwang School in Essen under Kurt Jooss, where she achieved technical excellence. Soon after the director of Wuppertal’s theatres, Arno Wüstenhöfer, engaged her as choreographer, from autumn 1973, she renamed the ensemble the Tanztheater Wuppertal. Under this name, although controversial at the beginning, the company gradually achieved international recognition. Its combination of poetic and everyday elements influenced the international development of dance decisively. Awarded some of the greatest prizes and honours world-wide, Pina Bausch is one of the most significant choreographers of our time.
Artistic Directors
Dominique Mercy, born 1950 in Mauzac, France, worked from 1965 at the Grand Théâtre in Bordeaux then from 1968 at the newlyformed Ballet Théâtre Contemporain in Amiens. In 1971, in the USA at the Saratoga Summer Festival, he met Pina Bausch. Two years later she invited him to join her new dance theatre company. There he developed into an outstanding, distinctive, individual dancer, whose imaginative creation of roles characterised many of the pieces. In 2001 he was made "chevalier des Arts et des Lettres", and received the "Bessie Award" in New York in 2002. In 2003 Regis Obadia made the documentary "dominique mercy danse Pina Bausch". Following the death of Pina Bausch he took over artistic directorship of the Tanztheater Wuppertal together with Robert Sturm. Robert Sturm was born into an acting family in 1965 in Dresden.
音樂合作
In 1990 he began studying theatre, film and television with philosophy and international politics in Cologne. Before graduating he migrated into professional practice and worked in Budapest and Szolnok as a director’s assistant and dramaturge. He soon began to direct his own productions. In 1999 he accompanied the Tanztheater Wuppertal during their researches for Wiesenland in Hungary. Pina Bausch initially engaged him as assistant for this production and then from 2000 as permanent artistic assistant and rehearsal director. Following her death in 2009 he took over artistic directorship of the Tanztheater Wuppertal together with Dominique Mercy.
帕塔學院學習鋼琴、小號及聲樂；完成學業後，於 1978 年在母
Set design
彼得帕布思是一名跨界大師。他自 1979 年以來，便是
院之總監，並有機會接觸碧娜鮑許的作品並深受感動。柏克最大
計自由工作者。截至目前為止，帕布思已參與超過百齣戲劇
年開始，碧娜鮑許邀柏克於烏帕塔舞蹈劇場共事；透過密切的合
連交響樂」、於波鴻博物館展出之「空間─夢想」展覽、「彼
偶於作品中登台表演。自 1995 年起，柏克與安吉亞艾森許耐德
been a freelancing set and costume designer in theatre, opera, dance, film and television, and up to now has created stage sets and costumes for more than 100 theatre and film productions, including the Rock Show "Dröhnland Symphony ", the exhibition "Spaces - Dreams " at the Museum Bochum, the book "PETER for PINA", and has taught in Beijing and Shanghai. His work has taken him to almost all major European cities, to America, and Asia. He has worked with Luc Bondy, Klaus Maria Brandauer, Udo Lindenberg, John Schaaf, Istvan Szabo, Jürgen Flimm, Robert Carsen, Chen Shi Zheng, Tancred Dorst, Andrei Serban and many others. But his main working partners have been Peter Zadek, with whom he has a long working relationship and personal friendship, and above all, Pina Bausch and her Tanztheater Wuppertal. In 1980 he designed his first set for a piece by Pina Bausch. This was the beginning of an exceptionally close artistic and personal relationship, a symbiotic collaboration that lasted until the death of the great choreographer in 2009. During these years, Peter Pabst designed and realised 25 "play-rooms" for Pina Bausch, including "VOLLMOND (Full Moon)". Peter Pabst has been awarded the Kainz Medal of the City of Vienna, has been appointed Chevalier des Arts et des Lettres in France, and awarded the title of Professor by the Minister President of NRW.
史豋姆於畢業前已邁入專業領域，於布達佩斯與索爾諾克工
一生一定要看的舞壇大師作品 － 碧娜．鮑許
者與編舞家相識。從 1973 年至博濟克英年早逝這段期間，博濟
克為烏帕塔舞蹈劇場進行舞台及服裝設計工作，並肩負影響力。
1990 年於科隆開始學習戲劇、電影、電視、哲學與國際政治。
文字╱俞秀青
濟克就學於福克旺學校研讀設計時，初與碧娜鮑許這位偉大的舞
在烏帕塔劇院的總監阿諾伍思頓霍福邀請鮑許擔任編舞家不
羅伯史豋姆 1965 年出生於德勒斯登的藝術世家中，
高雄市文化局局長 Director-general of Bureau of Cultural Affairs Kaohsiung City Government
羅夫博濟克 1944 年出生於波茲南，1980 辭世於埃森。博
博濟克設計的空間感與服裝風格非比尋常：既充滿詩意又貼近日
常生活經驗。他持續地使用自然元素（水與泥土），而其服裝設
作，擔任導演助理與戲劇創作者；很快的，史登姆也開始執
計看似由生活中隨手捻來，卻有十分優雅並飽滿。博濟克的作品
在匈牙利進行《草原國度》舞作之研究；碧娜鮑許最初聘請
現影響力。
導自身創作的作品。1999 年，史登姆協同烏帕塔舞蹈劇場
他擔任該作品之助理，並於 2000 年開始，轉任全職的藝術
助理及排練導演。鮑許於 2009 年逝世後，史豋姆與多明尼 克梅西即聯手接任烏帕塔舞蹈劇場的藝術總監一職。
舞台設計
戲劇、歌劇、舞蹈、電影、電視等不同領域的舞台暨服裝設
與電影的舞台布景及服裝設計工作，其中包括：搖滾秀「壯
得與碧娜」一著作、同時他也在北京與上海授課。帕佈司的
工作經歷讓他有機會造訪歐洲各地、美國與亞洲。他曾與路
克邦迪、克勞斯瑪麗亞布蘭道爾、烏道林頓伯格、約翰沙佛、 伊斯德泛撒博、尤根富林、羅伯卡森、陳詩正、坦克德朵斯 特、安瑞佘班等人合作，但他長期的主要工作夥伴及好友為
彼得扎大克，與碧娜鮑許及烏怕塔舞蹈劇場。帕布思在 1980 年與碧娜鮑許第一次合作，為其舞作進行舞台設計，開啓了
兩人於藝術與友情上一段密切的合作之旅，直至該為偉大的
編舞家於 2009 辭世。在這段期間，帕布思為鮑許設計並實
現了廿五間「遊戲室」，包括「月圓」一作品。彼得帕布思 先後被授與維也納市坎茲獎章、並於法國獲頒法國藝術暨文
學騎士勳章，也獲北萊茵─威斯特法倫州部長頒贈教授一銜。
為舞蹈空間及服裝開啓了一道創新之門，並在其殁後，持續地展
馬帝亞柏克 1953 年出生於杜易斯堡，於科隆音樂學會的烏 校教授鋼琴。此外，柏克自 1976 年開始，即擔任烏帕塔兒童戲
的熱情所在為即興表演，同時他對音樂亦擁有極高的造詣。1979 作，柏克亦針對鮑許的舞作音樂面向上，展現獨特的影響力，並
共同負責劇場中的音樂工作。
安吉亞艾森許耐德 1962 年生於呂納堡。其成長於策勒，
畢業後即於城鎮劇院受訓為音響技術人員。艾森許耐德參與過為
數不少的製作，後於 1988 年落腳於埃森，與漢斯甘特禾勉與尤 根波斯等導演合作。作曲家艾爾峰諾瓦奇是艾森許耐德最重要的
導師，帶領他造訪德國與世界各地的劇院工作。艾森許耐德對音
樂有廣泛的知識，並能輕易迅速地完成每齣製作中，與音樂相關
的技術需求。1995 年起，碧娜鮑許邀其至烏帕塔舞蹈劇場合作， 與馬帝亞柏克共同負責舞蹈劇場內與音樂相關的所有工作，從創
新舞作的研究乃至於演出中的音樂工程。
Peter Pabst, is used to crossing boundaries. Since 1979 he has
© Graziano Arici Greetings Ursula
碧娜鮑許經典 高雄首演
演出團隊介紹
開啓由城市通往世界的門