pina and yohji

pina i yohji na proslavi 25 godina rada pinine trupe, 1998.

pina je pozvala yamamota da učestvuje u ovom njenom jubileju. on je uradio kostime, haljine i pojavio se na sceni u karate odeždi i izvodeći karate poteze pridružio se pini i plesačima. u pini je video inspiraciju. oboje su delili jaku želju za onim što ne može da se vidi… pina inače nije davala preteran značaj modi. jedini izuzetak je bio yamamoto. za yamamota ona je imala savršenu siluetu. ova haljina dole jedan je u nizu modela koje je yamamoto uradio u njenu čast. kolekcija proleće/leto 1992.

“this is my idea for a woman’s body. i like the curve of a woman’s back. i always watch her silhouette in the streets.” (yamamoto)

https://www.facebook.com/video/video.php?v=1187549922174

ovo je jedan od retkih snimaka sa te proslave/spektakla 1998.

o njihovoj saradnji u  svojoj knjizi “my dear bomb” yamamoto piše:

1998 collaboration in the celebrations for the 25th anniversary of the pina bausch company, tanztheater wupperthal. one day a fax arrived. “come to wupperthal and do something for our 25th anniversary.” it was from pina bausch. i’d been deeply impressed by pina and so replied that i’d contribute, though i had no idea what i should do. then, before i knew it, the pamphlet for the occasion announced my participation. the theater was at full capacity for the evening. first, i had four or five dancers in a circle at the entrance to the opera house. they were all frozen in their poses, welcoming the audience. once a spectator entered the theater itself, they were met with another sight. in the first row in front of the large, curved stage i’d lined up dancers, tall and short, men and women, all in a random arrangement that left an uneven impression. i’d dressed them in costumes that didn’t fit them, and the zippers had been left unzipped. these dancers, too, remained frozen in their poses. that was the fashion show that i offered that evening. on the stage itself dancers who knew nothing of karate were attempting to learn the series of karate moves known as heian nidan. they were learning it on the spot, as a performance in its own right. and i’d made a request of pina. “i’ll design a garment for you, pina,” i said, “and i’d like you to dance in it, even if you do it simply as a favor to me.” pina would dance, her ribs moving elegantly, and the powerful men would confront her as she danced. the supple movements of pina’s body would easily absorb even the kicks and punches of the men who had been trained to kill their opponents with a single strike. pina had only to dance, alone and in the dark, with a disinterested look on her face, absorbed in her own movements. as things evolved the dancers on the stage began to master the karate movements, and the audience burst into applause. at one corner of the stage a large, comical man spokeinto a microphone, providing the dancers with an overblown explanation of the breathing techniques involved. “okay. now take a deep breathe and… attack . the performance offered none of the conventional cues on when to applaud, and at first the audience was confused about how they should react. in time, though, they began to enjoy themselves. for the finale i took the stage myself, performed the karate pattern heian nidan, and in the process toppled four of the powerful men. i then exited the stage. it had all been improvised. pina, i thoroughly enjoyed it.”

pina na ovoj naslovnici nosi yamamotovu jaknu iz njegove muške kolekcije jesen/zima 2002

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