Beatrice Cordua is one of these people who has seen it all. Not one of those whom you might know because the media follow each and every step of them but one who has lived their life to the fullest and became a piece of art in human form. I wouldn’t only call her a dancer but an artist who represents dance both in history as in contemporary matters. And now, more than 70 years old, she never stopped dancing. She started very classical, a classical dance education at the Royal Ballet School and the Ballettschule der Hamburgerischen Staatsoper, then first contracts in classical ballet companies in Germany. Although she was never a typical ballerina. She was not that kind of super technically dancer with an extremely high arabesque, but a dancer whose big talent laid in the interpretation of her dancing, in her honest and true way of performing and also questioning herself. During her career, there would be many choreographers who would use this talent just to name George Balanchine, Todd Bolender or John Neumeier. In the 1960s there was a lot of things happening in the dance world, especially in Germany and the USA. And she was a part of all these inventions. Going her way straight to the top of the classical form of ballet she was open-minded and eager enough to enter the evolving world of modern dance. She was fascinated by the work of Merce Cunningham, George Balanchine, and Pina Bausch. Pina’s Tanztheater expressed and reflected her inner feelings so well that it isn’t surprising that her work as a choreographer might sometimes remind one of her styles. Many of her friends were artists working in different fields like art, literature or music. And she was part of the creation of great and scandalous choreographies. In 1972 she danced the victim solo in John Neumeier’s “Le Sacre”, naked. Nudity follows her through her career as her favorite costume, now already passing her 70th birthday she uses it to emphasize different things. “Im Alter wird man leise und filigran, ich war eher laut und absurd”. In her own, often radical, choreographies she faces aging and being an elderly dancer courageously. Today she works as a choreographer in Berlin often in cooperation with Thomas Lankau. “Trixie schreit” performed in 2008 at DOCK11 in Berlin is a loud and appalling direct confrontation of life and pain, brave enough to show herself the way she is and always was, naked and true. Two years ago premiered “The wanderer’s peace”, a documentary performance by Nicole Seiler who staged sensitively Trixie’s story, told by herself. An exciting way to understand more about recent dance history and an extraordinary artist. It will be shown at the euro.scene Leipzig from 11th to 12th of November.
Picture taken by Nadine Merrikh
Text by Verena