Terminal 1 – Clara Bauer
Photos and video recordings, notations and manuscripts, procedure documentation, show bibles and notes of the dancers, programmes and posters, reviews and interviews: the sheer abundance of material in the archive is overwhelming, as is its diversity.
How was this material found, and how is it treated for conservation? What items of this continually growing stock are added to the archive, what information can be drawn from an object?
Terminal – Angela Deußen
More than 25.000 photos from the archive stock have been digitised and collected in the database of the Pina Bausch Archives. But other objects such as manuscripts, programmes, show bibles and posters, too, are subject to photo imaging applications.
What is the working situation and what technical means does this area of work include? What is the flow path of these archival documents in the translation from their physical form to the data that can be processed within the universe of the digital archive?
Terminal 3 – Ismaël Dia
Videos have been one of the most important working tools for Pina Bausch ever since her first productions in Wuppertal. Thus, the archive contains videos from the early 1970s up until today, about 7.500 recordings in total. The different formats that are on hand retrace the history of the medium - Open Reel, U-Matic, Betamax, VHS, HI8, MiniDV - and fortunately, the Pina Bausch Foundation has players for most of the types on hand.
More than 2.800 videos have already been digitised. They provide evidence of the creative processes that originated Pina Bausch’s pieces.
Terminal 4 – Vera Marz
The information arising from the digitisation of the stock is incorporated into the structure of the digital Pina Bausch Archives. How can these structures be described, how is this information interlinked? From what ports can the database be accessed, how can the data be visualised?
And how can this impressive wealth of information be put to use? The archive is a laboratory of memory as well as a workshop for the future.