Pina

Pina is nevertheless a triumph, a movie that does more than demolish the invisible wall between film and dance; it breaks the barrier that intervenes, even at a live performance, between seat and stage. I saw one of the pieces chosen for the film, Vollmond, at the Brooklyn Academy of Music in 2010, and from where I was sitting?in a budget-wise corner of the balcony?the action was shrunken down and flattened out. It looked like what it was: a bunch of people cavorting in a pool of water, some others playing with chairs, and a couple of guys clambering onto and off of a large rock. (I left during an endless standing ovation, as unmoved as I'd been two years before, while falling asleep at Bausch's Bamboo Blues.) But in the movie version, I got to see it from front-row center, and also from the 10^th row stage-left, and from stage-right, and from the stage itself?right next to the boulder and under the sprays of water. Stunts that had seemed frivolous in person?hey, I'm stacking some chairs over here?were now soaked in meaning.

Source: http://feeds.slate.com/click.phdo?i=418ee96fdf49511b7b3d21b6a5243d69

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