“Café Müller”/ “Rite of Spring”

Pina Bausch’s “Café Müller” and “Rite of Spring” both utilize the relationship between the human body and its surroundings to convey stories through movement. The pliable nature of the body as a medium is exploited, in that movements are shifted in ways which cause feelings such as tension and panic to arise within the audience members. For example, in “Café Müller” Bausch applies repetition to the motions carried out by the dancers, and in doing so she builds suspense and anxiety. These emotions become amplified as the performance nears its end, when  the man and the woman fling each other against the walls of the set violently. In “Rite of Spring,” Bausch employs more traditional choreography, but only to an extent. The movements of her dancers border on chaotic, but never completely devolve into madness as they do in “Café Müller.” In both performances, the set is integrated into the choreography. In “Rite of Spring,” the stage is covered in a layer of dirt, which covers the dancers and is disturbed by their motions. I believe that it also plays a critical role in imagery, representing rebirth and growth which are both traditional associations with springtime. In “Café Müller,” the set is what appears to be a cafeteria in a mental hospital and is covered with tables and chairs. These props frequently collide with the dancers, and are moved around throughout the performance. In the beginning of the dance, we are introduced to a female character in a long white nightgown as she staggers across the stage. She appears to be sleepwalking, and bumps into the chairs and tables in her way. At this point, a man enters the stage and begins moving the props out of the woman’s way before she collides with them. I believe that these objects might represent obstacles in life, and that the man’s efforts to eliminate them from the woman’s path represents his role in the relationship as a protector who responds to her vulnerability and dependence. Both performances are difficult to interpret, “Café Müller” more so than “Rite of Spring.” However, based upon the push-pull interactions between characters I observe that the performance is based on expectations that we have for our relationships with each other and the changes that they shift through. Throughout the dance, the male and female leads act as lovers shifting from holding tightly to each other, to separation, and finally to violent collision. “Rite of Spring” creates a clear divide between the two genders not only in their costumes, but also in their body language and sexually charged dancing. The women cower as they are approached by the men, and are sometimes chased and throw about the stage. The excited dancing and loud exhales from the dancers inspire a sense of panic, which is further accelerated when the dancers run about frantically and hug each other. A dress is passed down from one girl to another, and it appears that the men are singling out and choosing girls.