cineuropa.org

15 January, 2012

PINA 3D: il corpo come tramite

I corpi sono posseduti, estatici. Qualcosa li attraversa per arrivare a noi. Sembrano entità a sé, messaggeri di una visionaria Pina Bausch che entrano in scena, danzano portando il loro messaggio e ne escono svuotati, esaurendosi in quell'unico atto.


Gli artisti del Tanztheater rappresentano un fortunato ibrido di danzatori e attori, dove il corpo è veicolo di un messaggio totale e autonomo. Ci permettono di vivere un viaggio interiore attraverso le nevrosi e le psicosi umane, un work in progress che vediamo svilupparsi davanti ai nostri occhi. In uno stato di estasi (estasi appunto come annullamento del sé) si fanno tramite di un disegno superiore, il disegno della pittrice di corpi Pina Bausch. I suoi danzatori sono un prolungamento di se stessa, tanti piccoli frammenti autoreferenziali e al tempo stesso autonomi. “Pina was hidden in each one of our, and we were a part of her”.


Un mondo di suggestioni radicali ed essenziali, fatto di visioni post-contemporanee, che Wim Wenders rende, se possibile, ancor più magiche: rimane un senso di pienezza e di bellezza, di ebrezza da stimoli visivi e concettuali. I movimenti di macchina e la fotografia valorizzano la teatralità del gesto e del volto, permettendo che l'obiettivo sia i nostri occhi e che essi incrocino quelli dei danzatori, alcuni dei quali ci trapassano indelebili.


La danza è la prima forma di espressione artistica dell'essere umano, perché ha come strumento il corpo, è specchio della propria realtà e dei relativi comportamenti umani. Dal momento in cui qualcuno decise che mente e corpo fossero concetti distinti e separati si è assistito a una dissincronizzazione della nostra gestualità. Ce lo dice Pina attraverso il suo Cafe Muller, dove un uomo in giacca e cravatta costringe una coppia, in preda alla passione più spontanea, ad una catena di gesti meccanici e forzati, gettandoli nella frustrazione e nella disperazione. È lo strazio non di possedere, ma di essere sopra ogni cosa corpi, dell'avere una nostra propria naturalezza che il mondo tenta perennemente di mutare, plasmare, scardinare. Quella danza è lo strazio dei sentimenti che questi corpi vivono, fluiscono, incanalano. Il livello di possessione e di estasi di quei corpi è altissimo: evidente, osservandoli, il perché la chiesa cristiana volle condannare la danza. Il corpo riacquista dignità, si riappropria della sua originaria saggezza, ma con in più il dolore della consapevolezza: questo dolore è però inaspettatamente un dono di incredibile forza. Pina diceva ai suoi artisti: “your fragility is also your strenght” (la vostra fragilità è anche la vostra forza).


Wenders si mette al servizio di questo monologo onirico e visionario, in questo susseguirsi interminabile di mondi paralleli raccontati come flusso di coscienza - senza filtri - attraverso il linguaggio primordiale dei corpi. Ci sentiamo disorientati: il mondo di Pina ci assorbe così in profondità che ci perdiamo al suo interno. La Berlino che fa da sfondo è talmente integrata e assorbita dalla performance che ne è una naturale scenografia: persino il reale sembra piegarsi al suo cospetto. Viene da chiedersi, a questo punto, se l'effimero sia la traiettoria invisibile dei corpi o piuttosto il mondo come noi lo conosciamo. E se proprio il vostro livello di empatia e di “immersione” nel magico mondo non fosse ancora al suo apice, Wenders vi prende per mano, ve lo fa raggiungere attraverso le immagini in 3D.


La Bausch si raccontava attraverso un linguaggio fortemente allegorico, ad esempio la sedia ricorre come espediente nell'annullamento della gravità e nella costruzione di castelli effimeri e fragili che il corpo umano è costretto a sfidare: il suo lavoro è l'incontro fra il metodo catartico di Stanislawski e l'estrosità poliedrica, magmatica e sconfinata della danza contemporanea. Dance! Dance!” diceva Pina “otherwise we are lost” e aveva ragione. In un mondo di spersonalizzazione, omologazione, razionalizzazione, come quello in cui viviamo, in cui puniamo il nostro corpo seppur lui ci ripaga ogni giorno con la vita, il semplice gesto di danzare, come ricongiungimento tra il nostro corpo e le nostre emozioni, è l'atto di più forte affermazione individuale che possiamo compiere.


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