Dominique Mercy와 Malou Airaudo

후반부에 이런 대사가 나온다...
일단 결론적으로 조사를 해 보니...
초반에 나왔던 인물들이다...

누굴까?
살펴봐야 답이 나오겠고 오역을 없애고 확실성을 부여할 수 있다.

 
대사엔 도미니끄와 말로우만 나온다...
풀네임, 곧 성과 이름을 조사했더닛 제목과 같이 그랬고...
그렇담... 이 둘의 딸은 또 누군가?

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Thusnelda Mercy 
Thusnelda, the daughter of the iconic Pina Bausch dancer Dominique Mercy and Malou Airaudo, an early member of the company, happily describes herself as having “grown up on the Pina Bausch stage.” Having photographed Dominique in Venice in 1985, I felt a certain frisson to be photographing his daughter. She was excited to be performing with her father for the first time in the reprisal of Bandonéon (1980), which includes riffs on the tango. After the performance which I saw in Paris, a choreographer commented that the passages between father and daughter could only take place in the theater and that she preferred stage reality to life. Me too.

http://www.bam.org/view.aspx?pid=826

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Dominique Mercy

Dominique Mercy (1950)^[1] is a French contemporary dancer. He has been a member, since 1974,^[1] of the Tanztheater Wuppertal company of Pina Bausch as well as a choreographer in his own right.

Contents  [hide] 1 Biography 2 Major Choreographies 2.1 As interpreter 2.2 As choreographer 3 Documentary film 4 External links 5 References

Biography

Dominique Mercy received his education in classical dance. After a stay in the United States, he met Pina Bausch (1940-2009) in 1972. She invited him to join her recently created contemporary dance company in Germany, with which he has remained since 1974.

He co-created some of the dance corps choreography and pieces. He became one of the most famous contemporary dancer and received a Bessie Award in 2002 for his performance in Masurca Fogo.

Together with Bausch's assistant Robert Sturm, he was elected unanimously by the ensemble in place of Pina Bausch in October 2009.^[2]

Major Choreographies

As interpreter

• 1974: Iphigénie en Tauride
• 1975: Orfeo ed Euridice
• 1978: Café Müller
• 1980: Bandoneon
• 1983: Nelken - Carnations
• 1989: Palermo, Palermo
• 1995: Danzón
• 1997: Der Fensterputzer - The Window Cleaner
• 1998: Masurca Fogo
• 1999: Petit psaume du matin (Little morning psalm) written for Dominique Mercy by Josef Nadj.

As choreographer

• Pina Bausch assistant for a major part of the creations since 1974.
• 2000: Ça ira mieux demain written for Guesch Patti

Documentary film

• Dominique Mercy dances Pina Bausch by Régis Obadia, France, 2003, 52 min., producer: arte, video clip and Cafe Müller

 
http://en.wikipedia.org/wiki/Dominique_Mercy

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Dominique Mercy

   
was born in 1950 in Mauzac in the Dordogne. Even when he was a small boy he had the urge to express himself with his body by dancing. His mother realised that he had a serious talent and enrolled him in Madame Dupradeau's ballet school in the Bordeaux suburbs. Her studio was in a small summerhouse next to the chickens' stall, and Mercy observes wryly that to start with he was the only 'little cockerel'. When he was eleven Madame Dupradeau recommended he continue his dance training elsewhere. The move was not easy. Although a model pupil at his infant school, Dominique had problems at the lycée and wanted to leave. A solution was finally found. A friend of his parents recommended Germaine Lalande, the wife of the theatre director, who taught at the Bordeaux opera and allowed him to join her class. At the same time he changed schools, going to the école du commerce although he knew he would never have a career in business. In 1965, only fifteen years old, he was invited to join the ensemble at the Grand Théâtre de Bordeaux. Three years later he transferred to the newly founded Ballet Théâtre Contemporain in Amiens where the directors Jean-Albert Cartier and Francoise Adret were trying to establish partnerships between dancers, painters and composers. Mercy danced in pieces by choreographers including Adret, Félix Blaska, Jean Bailée, John Butler, Michel Descombey and George Skibine - and Manuel Alum of the Paul Sanasardo Dance Company in New York visited as a guest teacher. The encounter was to prove decisive as in 1971 Alum invited Mercy to the USA where, during the Saratoga Summer Festival, he met Pina Bausch. She was performing her choreography Philips 836885 D.S.Y. and giving dance lessons and Mercy was fascinated by this dancer from Germany, ten years older than him. He identified immediately with her movements. He had finally found a kind of dance which did not feel alien to him; finally a choreographer whose style he would not have to learn first before they could work together. Pina Bausch's physical language was the same as his. In 1973 came the long-awaited invitation to work with her in Germany, extended at the same time to Malou Airaudo.

Soon to rename her ensemble and her work 'dance theatre' or Tanztheater, Pina Bausch had no interest in routine variations on familiar dance movements. She sought to research as yet undiscovered physical motifs. At the first joint performance evening Mercy was involved with however, the emphasis was on German and American modernism, with Kurt Jooss' Der grüne Tisch and Agnes de Mille's Rodeo. More exciting to Mercy was Pina Bausch's own contribution to the programme, Fritz. Working on the piece his hopes were immediately fulfilled. Throughout the rehearsals he was suffering from an itchy cough he couldn't suppress. Out of this Pina Bausch developed an entire coughing dance with him. What made the greatest impression on him was that in Wuppertal everyone worked on each project together and didn't simply learn steps. This created a new freedom, involving the dancers early on in the development of the pieces and resting on precise observation. Pina Bausch worked on the principle that things which have not yet become art are more important than things which are art already. Thus even a nasty, tickly cough could become subject matter. And the inclusion of such elements was handled wholly without pretension. They worked with what was there, without following an agenda.

Mercy left the company twice, founding his own company with Airaudo, dancing with Carolyn Carlson at the Paris opera in the productions Wind-Water-Sand and The Architects and in pieces by Peter Goss. Strangely each time he left it was when work on a piece had been particularly satisfying: the first time following Orpheus and Eurydice in 1975, the second time following Er nimmt sie an der Hand und führt sie in das Schloss, die andern folgen (He takes her by the hand and leads her into the castle, the others follow) in 1978. Although he had already announced his departure, to his astonishment he was chosen for Cafè Müller, premiered a mere month later. Pina Bausch was clearly not easily upset. That he left nonetheless he puts down to his own obstinacy, determined to stick to a decision he had made. He continued to watch the Wuppertal performances as a spectator however, and realised that this remained exactly what he wanted to do. This distance was important for the young dancer in order to find his own place again each time in this intensive work. The fact that Pina Bausch increasingly asked her dancers about experiences from their own lives was something he could relate to entirely: 'It cannot be done any other way than through your experience. You must do what you do there using your own insight; make it make sense through your own sensibility.'

Over time Bausch and Mercy evolved a perfect collaborative relationship. Like Pina, Dominique loved small, swift disturbances. His clown in Two Cigarettes in the Dark is not simply a comic figure; this is an encounter with a human being in utter distress. His solos are almost always ambivalent tightrope walks. He believes strongly in figures with an edge or a defect and above all he loves roles in drag: 'I enjoy it: you can be yourself and yet someone else. Saying something wearing a dress is different from saying it wearing a shirt and trousers.' His speciality is 'sad blokes', as he puts it, and disturbing oddball characters. He is always keen to find new ways to arrive at a figure and thus to achieve displacement. There is nothing better than when a member of the audience is jarred and made alert, as in Danzón, for instance, when Mercy performs an elderly lady who climbs onstage from the auditorium and, with laconic irony, asserts, 'I am here, and you are there'. Or when he plays a mute gardener in a tutu, casting conspiratorial glances which we do not entirely know how to interpret. In these calm, cautions moments he creates an irresistible, youthful charm. But this isn't all. In Nelken (Carnations) he berates the audience with a relentless barrage of abuse, asking if all they really want to see are displays of technical virtuosity, which he then in fact delivers impeccably during his tirade. The gaze is thus steered from the superficial to the essential and leaves us in no doubt that he certainly could do what he has been refusing to, if he wanted.

Dominique Mercy is ideally suited to Pina Bausch's dance theatre, because he is able, as she says, to dance his soul through his body, and simultaneously to mete out his energy with the utmost precision. In this way he grew to be one of the most significant soloists in an ensemble entirely composed of solo dancers. The repertoire of roles he has created is very broad. He can play passionate characters along with suppressed, silent roles; surly old men and brilliant ballerinos. Despite this he has repeatedly taken breaks from Wuppertal. While O Dido was being created, he was working on the duo Petit psaume du matin with Josef Nadj. He recuperated from the work with the large ensemble with periods of intimate concentration on pieces with fewer performers and discovered new sides to himself. It was not that he didn't value working with the large group, but sometimes it was important to have time to himself. Pina Bausch always understood her dancers' need for such periods of rest. Mercy also took up a teaching job at the Folkwang Academy in Essen at the end of the 1980s. This too was a chance for him to achieve some distance. When Pina Bausch offered him the job of assistant, he recoiled from the task. He still wanted to dance, and to be both dancer and assistant seemed too much to him.

In France he was made Chevalier des arts et des lettres in 2001 for his achievements; a year later he was awarded the Bessie Award in New York. In 2003 Regis Obadia shot the film portrait Dominique Mercy danse Pina Bausch. Asked in an interview that same year what he most feared, he said, 'I don't want to say death, because I don't know what that is. It is more the fear of loss, the loss of people: a general fear of a loss which takes time to overcome. I am afraid of departure, perhaps not so much my own.'

Six years later this situation occurred. When, on 30 June 2009, he received the news of Pina Bausch's death, he was speechless. At the same time he sensed his responsibility for continuing their work. He knew that this could hardly be born alone. Thus he took on artistic direction of the company together with Robert Sturm, Pina Bausch's directorial assistant. Both realised that this task could only be met through the collective responsibility of all the dancers. Pina cannot be replaced, but her spirit remains present in all those who worked with her, some of them for decades. This is the only way this work, which revolutionised dance throughout the world and revealed the personalities of its players like no other, can be kept alive.

http://www.pina-bausch.de/en/dancetheatre/art_direction/mercy_dominique.php?text=lang

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Malou Airaudo (DE)

Malou Airaudo is one of characterizing soloists of Pina Bausch's Wuppertal Dance Theater where she has, following her 1984 nomination as professor of contemporary dance at the Folkwang Academy, made regular guest appearances in such productions as "Iphegenia at Taurus", Orpheus and Euridyce", "Café Müller", "Bandoneon" and "Walzes". Airaudo began her education at the Marseille Opera school and danced with the Ballet Russes de Monte Carlo and with the Contemporary Ballet Theater of Amiens, until 1970, when she went to New York and where she first encountered Pina Bausch, who engaged her in 1973 for the newly-founded Wuppertal Dance Theater.

 http://www.impulstanz.com/archive/artist/521/en/

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Malou Airaudo

1956 begins at the Opera de Marseille. 1963 engaged in the Corps de Ballet under the direction of Joseph Lazzini. 1965 Ballets Russes de Monte Carlo. 'Bacchanale from Tannhäuser', 'Gaite Parisienne' of Leonide Massine, 'Fresco' Pavel Smok and directory. 1968 initiated by Francoise Adret Contemporary Ballet Theatre at Amiens led by Jean-Albert Cartier.She works with Lazzini Joseph, George Skibine, Brian Macdonald, John Butler, Michel Descombey, Miko Sparemblek, Françoise Adret, Felix Blaska.1970 departure for New York to join the company of Manuel Alum. He created the solo "Woman of mystic body '. By the intermediary of Paul Sanasardo she met Pina Bausch who hired him in 1973 in Wuppertal Tanztheater. Creation - 'Fritz', 'Ich Bring dich um die Ecke ... / Adagio - Fünf Lieder von Gustav Mahler ',' Iphigenie auf Tauris ',' Kindertotenlieder '(1974), "Orpheus und Eurydike' (1975), 'Café Müller' (1978), 'Walzer' (1982)," Bandoneon " (1980). Dance - 'The Rite of Spring' (1975), 'Blaubart' (1977), 'Kontakthof' (1978), 'Keuschheitslegende', 'Arien (1979),' Auf dem Gebirge hat man ein Geschrei gehört ' (1984), 'Two Cigarettes in the Dark' (1985). Film - in 2002, Malou Airaudo appears in Pedro Almodovar's film "Habla con Ella". 1976 creation of the group 'The Main' in Paris with Jacques Patarozzi, Dominique Mercy, Helena and Dana Sapiro Pikon. 1980 performance at the Opéra de Paris 'The Architects' - Choreography: Carolyn Carlson 1983 creation of 'Chalk Work' in Venice - Choreography: Carolyn Carlson (who she also danced the evening of improvisation ) Since 1984, Malou Airaudo teaches at the Folkwang Hochschule Essen and choreography. 'May', 'syzygy', 'Inanna', 'Was man so braucht', 'Akgün', 'Eng', 'Silenzio', and 'Windschatten' for students at the Folkwang Hochschule, 'The Garden of Memories' (1997) for the Folkwang Tanzstudio, 'I wish I' (2002) for the Ballet de Lorraine 'Sozinho, sozinha' (2005) for the Ballet du Grand Theatre Geneva, 'Jane' (1999) by Carolyn Carlson invited to the Venice Biennale, 'Gone With the Time' choreographed with Jean Laurent Sasportes and 'Black is the color ...' with Mark Sieczkarek (2007), 'Schwarze Katze '(2008) brings together modern dancers and Hip-Hop and Flatland BMX rider. "The urge to create comes to me as people I have in front of me, the discovery of their personality that is for me as important as technique. "

 http://www.ccn-roubaix.com/index.php?option=com_content&view=article&id=510&Itemid=1135&lang=fr