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1 | |
00:01:03,240 --> 00:01:06,312 | |
Soon it will be spring again. | |
2 | |
00:01:06,360 --> 00:01:08,669 | |
Grass sprouting. | |
3 | |
00:01:10,080 --> 00:01:12,435 | |
Then comes summer, | |
4 | |
00:01:13,360 --> 00:01:15,430 | |
tall grass, | |
5 | |
00:01:15,480 --> 00:01:16,629 | |
sun. | |
6 | |
00:01:17,760 --> 00:01:20,558 | |
Then comes autumn, | |
7 | |
00:01:21,360 --> 00:01:23,191 | |
leaves falling. | |
8 | |
00:01:24,400 --> 00:01:26,118 | |
And then... | |
9 | |
00:01:26,160 --> 00:01:27,639 | |
winter. | |
10 | |
00:01:29,040 --> 00:01:30,871 | |
Spring. | |
11 | |
00:01:32,560 --> 00:01:33,595 | |
Summer. | |
12 | |
00:01:35,160 --> 00:01:36,195 | |
Autumn. | |
13 | |
00:01:37,920 --> 00:01:39,194 | |
Winter! | |
14 | |
00:09:04,800 --> 00:09:07,872 | |
There are situations, of course, | |
15 | |
00:09:07,920 --> 00:09:11,230 | |
that leave you utterly speechless. | |
16 | |
00:09:11,800 --> 00:09:14,519 | |
All you can do is hint at things. | |
17 | |
00:09:16,920 --> 00:09:19,957 | |
Words, too, can't do more | |
18 | |
00:09:20,800 --> 00:09:24,588 | |
than just evoke things. | |
19 | |
00:09:25,480 --> 00:09:29,189 | |
That's where dance comes in again. | |
20 | |
00:16:08,440 --> 00:16:10,874 | |
Pina was a painter. | |
21 | |
00:16:10,920 --> 00:16:15,391 | |
She consistently questioned us. | |
22 | |
00:16:16,040 --> 00:16:17,917 | |
That's how we became the paint, | |
23 | |
00:16:17,960 --> 00:16:19,632 | |
to colour her images. | |
24 | |
00:16:19,680 --> 00:16:21,830 | |
For example she'd ask for | |
25 | |
00:16:21,880 --> 00:16:23,757 | |
"the moon"? | |
26 | |
00:16:23,800 --> 00:16:25,995 | |
I depicted the word with my body | |
27 | |
00:16:27,280 --> 00:16:29,669 | |
so that she could see and feel it. | |
28 | |
00:17:09,800 --> 00:17:14,078 | |
I danced in Café Müller myself. | |
29 | |
00:17:14,120 --> 00:17:17,749 | |
We all have our eyes closed. | |
30 | |
00:17:17,800 --> 00:17:20,678 | |
When we did a reprise, | |
31 | |
00:17:20,720 --> 00:17:23,518 | |
I couldn't get the feeling back, | |
32 | |
00:17:23,560 --> 00:17:27,553 | |
a feeling that mattered so much to me. | |
33 | |
00:17:27,600 --> 00:17:30,194 | |
All of a sudden I noticed | |
34 | |
00:17:30,240 --> 00:17:32,071 | |
that it makes a big difference, | |
35 | |
00:17:32,120 --> 00:17:35,279 | |
behind closed eyelids, | |
36 | |
00:17:35,280 --> 00:17:38,875 | |
whether I look down, or like this. | |
37 | |
00:17:39,920 --> 00:17:42,480 | |
That made all the difference! | |
38 | |
00:17:42,520 --> 00:17:45,796 | |
The right feeling | |
was there immediately. | |
39 | |
00:17:47,880 --> 00:17:52,351 | |
Unbelievable how crucial that is. | |
40 | |
00:17:52,400 --> 00:17:57,155 | |
The tiniest detail matters. | |
41 | |
00:17:57,200 --> 00:17:58,997 | |
It's all a language | |
42 | |
00:17:59,040 --> 00:18:01,031 | |
that you can learn to read. | |
43 | |
00:18:15,360 --> 00:18:17,157 | |
We developed the piece | |
44 | |
00:18:17,200 --> 00:18:18,758 | |
in two weeks, Dominique! | |
45 | |
00:18:18,800 --> 00:18:21,234 | |
The speed was unbelievable! | |
46 | |
00:18:21,280 --> 00:18:24,033 | |
Amazing how the idea materialised | |
47 | |
00:18:24,080 --> 00:18:28,631 | |
from just a table and four chairs. | |
48 | |
00:18:28,680 --> 00:18:30,875 | |
Typical Pina! I remember. | |
49 | |
00:18:39,000 --> 00:18:41,389 | |
- Then, bang, chairs! | |
- Exactly. | |
50 | |
00:18:41,440 --> 00:18:45,638 | |
Then, bang! | |
Rolf played with the chairs, | |
51 | |
00:18:45,680 --> 00:18:48,638 | |
and they became integral to the piece. | |
52 | |
00:18:48,680 --> 00:18:51,035 | |
So beautiful! | |
53 | |
00:20:25,960 --> 00:20:27,951 | |
1, 2, 3, 4, 5, 6, 7, 8, 9, 10. I'm coming! | |
54 | |
00:21:07,480 --> 00:21:09,835 | |
Kazuo Ohno also left us | |
55 | |
00:21:09,880 --> 00:21:11,279 | |
not too long ago. | |
56 | |
00:21:12,320 --> 00:21:14,550 | |
I imagine him and Pina up there | |
57 | |
00:21:14,600 --> 00:21:16,556 | |
dancing together... | |
58 | |
00:21:16,600 --> 00:21:18,989 | |
leaping from one cloud to another. | |
59 | |
00:24:06,160 --> 00:24:08,515 | |
Pina had the most penetrating eyes! | |
60 | |
00:24:09,080 --> 00:24:11,878 | |
No one has ever read me that way. | |
61 | |
00:24:12,760 --> 00:24:15,513 | |
Everything I tried or pretended to be | |
62 | |
00:24:15,560 --> 00:24:18,313 | |
disappeared under her gaze. | |
63 | |
00:24:18,360 --> 00:24:20,669 | |
Instead, she saw something | |
64 | |
00:24:20,720 --> 00:24:22,711 | |
I was afraid of | |
65 | |
00:24:22,760 --> 00:24:25,399 | |
because I didn't know it yet. | |
66 | |
00:26:12,360 --> 00:26:13,998 | |
Who was Pina? | |
67 | |
00:26:14,640 --> 00:26:17,677 | |
She combined | |
fragility and strength. | |
68 | |
00:26:18,320 --> 00:26:20,276 | |
She was also capable of | |
69 | |
00:26:20,320 --> 00:26:22,595 | |
endlessly listening and watching, | |
70 | |
00:26:22,640 --> 00:26:25,791 | |
and overcoming all her limits. | |
71 | |
00:26:25,840 --> 00:26:27,990 | |
So I imagine her like a house | |
72 | |
00:26:28,040 --> 00:26:31,635 | |
with a huge attic full of treasures. | |
73 | |
00:29:39,680 --> 00:29:42,148 | |
Pina wasn't going to dance. | |
74 | |
00:29:42,200 --> 00:29:44,509 | |
You always forgot your moves. | |
75 | |
00:29:44,560 --> 00:29:47,199 | |
We refused to do it without her! | |
76 | |
00:29:47,240 --> 00:29:51,358 | |
She got involved because you insisted... | |
77 | |
00:29:51,400 --> 00:29:53,789 | |
That she showed me the moves? | |
Come off it! | |
78 | |
00:29:53,840 --> 00:29:55,512 | |
But it's true! | |
79 | |
00:29:56,360 --> 00:29:58,920 | |
I insisted that she danced. | |
80 | |
00:29:58,960 --> 00:30:01,758 | |
That was the only way for people | |
to see her on stage! | |
81 | |
00:31:02,320 --> 00:31:04,880 | |
I never wanted | |
to dance Cafe Müller. | |
82 | |
00:31:06,040 --> 00:31:08,508 | |
When Pina asked me to dance her part | |
83 | |
00:31:09,240 --> 00:31:10,798 | |
I said yes. | |
84 | |
00:31:10,840 --> 00:31:12,876 | |
But I never really learned it. | |
85 | |
00:31:13,840 --> 00:31:16,274 | |
I wanted her to dance forever. | |
86 | |
00:31:17,000 --> 00:31:19,560 | |
I saw her do Cafe Müller so often. | |
87 | |
00:31:20,400 --> 00:31:24,439 | |
I wanted to sense what she was feeling. | |
88 | |
00:31:25,080 --> 00:31:28,356 | |
She moved as if she had | |
a hole in her tummy, | |
89 | |
00:31:28,960 --> 00:31:31,997 | |
as if she'd risen from the dead. | |
90 | |
00:31:32,040 --> 00:31:35,112 | |
When I'm on stage today, | |
91 | |
00:31:36,000 --> 00:31:37,991 | |
I try to imagine Pina | |
92 | |
00:31:38,960 --> 00:31:40,996 | |
in her pain, | |
93 | |
00:31:41,040 --> 00:31:43,031 | |
but also in her strength | |
94 | |
00:31:44,080 --> 00:31:45,991 | |
and her loneliness. | |
95 | |
00:33:46,840 --> 00:33:48,239 | |
How often | |
96 | |
00:33:48,280 --> 00:33:51,556 | |
did I dance | |
Café Müller with Pina, | |
97 | |
00:33:51,600 --> 00:33:55,559 | |
and see her hair, back, arms, | |
98 | |
00:33:56,200 --> 00:33:58,111 | |
knew, with my eyes shut, | |
99 | |
00:33:58,160 --> 00:34:01,277 | |
that she was aware of us all! | |
100 | |
00:34:02,320 --> 00:34:03,912 | |
She saw everything, | |
101 | |
00:34:03,960 --> 00:34:05,871 | |
even with closed eyes! | |
102 | |
00:34:39,360 --> 00:34:41,669 | |
We danced and laughed all the time. | |
103 | |
00:34:41,720 --> 00:34:43,073 | |
We were always together | |
104 | |
00:34:43,120 --> 00:34:45,190 | |
until four in the morning | |
105 | |
00:34:45,240 --> 00:34:48,073 | |
to devise something for the next day. | |
106 | |
00:34:48,120 --> 00:34:50,429 | |
That was at the beginning of the company. | |
107 | |
00:34:50,800 --> 00:34:53,917 | |
We'd meet at Barmen station | |
108 | |
00:34:53,960 --> 00:34:55,393 | |
every morning | |
109 | |
00:34:55,440 --> 00:34:57,078 | |
for coffee and a roll | |
110 | |
00:34:57,120 --> 00:34:59,076 | |
and go over the day's work. | |
111 | |
00:35:03,440 --> 00:35:07,274 | |
You always felt more than just human | |
112 | |
00:35:07,320 --> 00:35:09,311 | |
working with Pina. | |
113 | |
00:35:55,440 --> 00:35:56,759 | |
It was good | |
114 | |
00:35:56,800 --> 00:35:59,553 | |
being an older dancer with Pina! | |
115 | |
00:35:59,600 --> 00:36:02,910 | |
Well, the younger years were good, too. | |
116 | |
00:36:05,560 --> 00:36:09,439 | |
I was 24 when I came to Wuppertal. | |
117 | |
00:36:09,480 --> 00:36:12,472 | |
But at 40, more and more, | |
118 | |
00:36:12,520 --> 00:36:16,752 | |
I thought, "All this space, | |
all these opportunities!" | |
119 | |
00:36:16,800 --> 00:36:19,598 | |
Pina's eyes turn everything we do | |
120 | |
00:36:19,640 --> 00:36:23,235 | |
into something even more beautiful. | |
121 | |
00:36:23,800 --> 00:36:26,792 | |
To be old and a child at the same time. | |
122 | |
00:38:55,040 --> 00:38:57,759 | |
After an awful rehearsal of Iphigenia | |
123 | |
00:38:57,800 --> 00:39:00,951 | |
Pina didn't say a word to me. | |
124 | |
00:39:01,000 --> 00:39:03,719 | |
Before the performance, | |
125 | |
00:39:03,760 --> 00:39:07,150 | |
she came and said as usual, | |
"Lützchen, be good!" | |
126 | |
00:39:07,200 --> 00:39:09,191 | |
And I replied as always, | |
127 | |
00:39:09,240 --> 00:39:11,071 | |
"Pinchen, enjoy it!" | |
128 | |
00:39:11,120 --> 00:39:14,317 | |
She left, turned at the door, and said, | |
129 | |
00:39:14,360 --> 00:39:17,397 | |
"Don't forget, | |
you have to scare me!" | |
130 | |
00:39:17,440 --> 00:39:19,396 | |
Right away my head started to spin. | |
131 | |
00:39:19,440 --> 00:39:22,671 | |
That was more to the point | |
than talking for hours. | |
132 | |
00:44:06,120 --> 00:44:08,839 | |
New in the company, I didn't yet grasp | |
133 | |
00:44:08,880 --> 00:44:10,393 | |
how Pina worked. | |
134 | |
00:44:10,440 --> 00:44:11,873 | |
And she didn't explain it. | |
135 | |
00:44:12,280 --> 00:44:13,679 | |
I was lost. | |
136 | |
00:44:14,400 --> 00:44:15,992 | |
Until I realised | |
137 | |
00:44:16,040 --> 00:44:18,918 | |
I had to pull myself up by my own hair. | |
138 | |
00:49:17,720 --> 00:49:19,915 | |
This is veal! | |
139 | |
00:52:43,760 --> 00:52:45,478 | |
What is honesty? | |
140 | |
00:52:45,520 --> 00:52:47,317 | |
What's our responsibility | |
141 | |
00:52:47,360 --> 00:52:49,874 | |
even when we dance? | |
142 | |
00:52:50,480 --> 00:52:53,916 | |
Pina taught us to stand for what we do, | |
143 | |
00:52:53,960 --> 00:52:55,996 | |
for every gesture, | |
144 | |
00:52:56,040 --> 00:52:58,235 | |
every step and every move. | |
145 | |
00:54:36,680 --> 00:54:39,399 | |
Pina always wanted to bring out | |
146 | |
00:54:39,440 --> 00:54:41,908 | |
the best in all her dancers. | |
147 | |
00:54:43,200 --> 00:54:44,713 | |
Once she told me, | |
148 | |
00:54:44,760 --> 00:54:48,036 | |
"Your fragility is also your strength!" | |
149 | |
01:04:11,000 --> 01:04:13,275 | |
For Full Moon | |
150 | |
01:04:13,320 --> 01:04:17,233 | |
she requested a gesture related to "joy" | |
151 | |
01:04:17,920 --> 01:04:21,037 | |
or to the pleasure of moving. | |
152 | |
01:04:21,600 --> 01:04:24,433 | |
The question really inspired me. | |
153 | |
01:04:24,480 --> 01:04:28,598 | |
From the movement I presented, | |
154 | |
01:04:28,640 --> 01:04:31,154 | |
she created an entire scene. | |
155 | |
01:05:14,920 --> 01:05:16,592 | |
I was always in a corner | |
156 | |
01:05:16,640 --> 01:05:18,949 | |
or hiding behind someone, | |
157 | |
01:05:19,000 --> 01:05:20,911 | |
when she was giving corrections. | |
158 | |
01:05:20,960 --> 01:05:24,316 | |
Perhaps because | |
I respected her so much. | |
159 | |
01:05:24,360 --> 01:05:26,396 | |
Once she caught me. | |
160 | |
01:05:26,440 --> 01:05:28,795 | |
She asked me with a sad voice, | |
161 | |
01:05:28,840 --> 01:05:31,513 | |
"Ditta, why are you so afraid of me?" | |
162 | |
01:05:31,560 --> 01:05:33,357 | |
"I didn't do anything." | |
163 | |
01:05:33,400 --> 01:05:34,958 | |
She was right. | |
164 | |
01:05:35,000 --> 01:05:38,470 | |
And I gradually lost my shyness. | |
165 | |
01:09:02,720 --> 01:09:05,075 | |
Sometimes she said things like, | |
166 | |
01:09:05,120 --> 01:09:06,872 | |
"Go on searching!" | |
167 | |
01:09:06,920 --> 01:09:08,956 | |
But that was all she said. | |
168 | |
01:09:09,000 --> 01:09:11,309 | |
It meant you had to keep searching | |
169 | |
01:09:11,360 --> 01:09:13,078 | |
without knowing where to look, | |
170 | |
01:09:13,120 --> 01:09:16,271 | |
nor whether you were on the right track. | |
171 | |
01:13:34,800 --> 01:13:38,270 | |
Pina, I still haven't | |
dreamed about you! | |
172 | |
01:13:38,960 --> 01:13:42,350 | |
Please visit me in my dreams. | |
173 | |
01:13:42,400 --> 01:13:43,913 | |
I got news from Daphnis, | |
174 | |
01:13:43,960 --> 01:13:45,678 | |
who dreams of you all the time. | |
175 | |
01:13:45,720 --> 01:13:47,438 | |
It's not the same. | |
176 | |
01:13:47,480 --> 01:13:50,153 | |
It would be nice if you showed up! | |
177 | |
01:13:50,200 --> 01:13:52,191 | |
I'm waiting for you, Pina. | |
178 | |
01:14:36,720 --> 01:14:38,711 | |
Pina left us so quickly, | |
179 | |
01:14:39,760 --> 01:14:41,318 | |
so surprisingly. | |
180 | |
01:14:42,320 --> 01:14:44,515 | |
I think that in the end | |
181 | |
01:14:44,560 --> 01:14:46,994 | |
she left everything behind | |
182 | |
01:14:47,800 --> 01:14:49,518 | |
and was free. | |
183 | |
01:14:50,400 --> 01:14:52,709 | |
That's why I wanted to give her | |
184 | |
01:14:53,240 --> 01:14:54,958 | |
this moment of lightness, | |
185 | |
01:14:55,760 --> 01:14:58,797 | |
this feeling of weightlessness. | |
186 | |
01:19:33,920 --> 01:19:36,275 | |
As the daughter of | |
Dominique and Malou | |
187 | |
01:19:36,320 --> 01:19:39,118 | |
I was the first child in the company. | |
188 | |
01:19:39,160 --> 01:19:41,958 | |
I grew up inside the Tanztheater. | |
189 | |
01:19:42,880 --> 01:19:44,757 | |
Life without Pina? | |
190 | |
01:19:44,800 --> 01:19:46,677 | |
I just don't know what it is. | |
191 | |
01:20:28,320 --> 01:20:31,551 | |
When I was new in Wuppertal | |
192 | |
01:20:31,600 --> 01:20:34,512 | |
and confused about a few things, | |
193 | |
01:20:34,560 --> 01:20:36,516 | |
she simply said... | |
194 | |
01:21:42,880 --> 01:21:44,279 | |
For Pina, | |
195 | |
01:21:44,320 --> 01:21:46,470 | |
the elements were very important. | |
196 | |
01:21:46,520 --> 01:21:49,159 | |
Whether sand or soil, | |
197 | |
01:21:49,200 --> 01:21:51,395 | |
stones or water... | |
198 | |
01:21:51,440 --> 01:21:54,955 | |
Somehow, even icebergs | |
and rocks appeared on stage. | |
199 | |
01:21:55,000 --> 01:21:57,639 | |
When we dance, they become... | |
200 | |
01:21:57,680 --> 01:21:59,033 | |
obstacles. | |
201 | |
01:21:59,080 --> 01:22:02,834 | |
You have to go | |
against or through them, | |
202 | |
01:22:02,880 --> 01:22:04,871 | |
or climb over them... | |
203 | |
01:29:25,800 --> 01:29:28,360 | |
Pina was a radical explorer. | |
204 | |
01:29:28,400 --> 01:29:31,039 | |
She looked deep into our souls. | |
205 | |
01:29:31,080 --> 01:29:34,629 | |
There was one particular subject | |
she kept asking us about: | |
206 | |
01:29:34,680 --> 01:29:37,035 | |
What are we longing for? | |
207 | |
01:29:37,080 --> 01:29:40,356 | |
Where does all this | |
yearning come from? |
This file contains bidirectional Unicode text that may be interpreted or compiled differently than what appears below. To review, open the file in an editor that reveals hidden Unicode characters.
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import goslate | |
baseFilename = 'ouzo-pinaoz.en' | |
sourceLanguage = 'en' | |
targetLanguage = 'ko' | |
targetFilename = baseFilename + '-' + targetLanguage | |
combinedFilename = baseFilename + '-' + sourceLanguage + '+' + targetLanguage | |
sourceFile = open(baseFilename + '.srt', 'r') | |
#counts number of lines in the current block (e.g. 3 or 4 lines = 1 block) | |
lineCount = 0 | |
#the text to send to google | |
originText = '' | |
#the new subtitle files to be synthesised | |
targetSubtitles = '' | |
combinedSubtitles = '' | |
#target = target language only | |
#combined = source language on top + target language on bottom | |
#the following code works kind of. BUT DON'T RUN IT! | |
#Google will block requests from your IP for a while :) | |
#Instead, need to put all source texts into one big string and translate all at once | |
#Google translate seems to respect new lines. So if we separate every subtitle by a new line | |
# then we should be able to send the whole set of subtitles together and get them back in | |
# the same format. | |
# e.g.: `Soon it will be spring again.\nGrass sprouting.\nThen comes summer,` | |
for line in sourceFile: | |
if line.strip(): | |
lineCount += 1 | |
if(lineCount < 3): | |
# this is the subtitle line number and time stamp. just pass through | |
targetSubtitles += line | |
combinedSubtitles += line | |
else: | |
# this is the origin text. if there's multiple lines then flatten into one line | |
if not originText == '': | |
originText += ' ' | |
originText = originText + line.rstrip() | |
print (lineCount) | |
else: | |
#we've encountered the empty line (i.e. end of the block) so let's process | |
print(originText) | |
targetText = gs.translate(originText, 'ko') | |
targetSubtitles += targetText + '\n' | |
combinedSubtitles += originText + '\n' | |
combinedSubtitles += targetText + '\n' | |
targetSubtitle += '\n' | |
combinedSubtitle += '\n' | |
originText = '' | |
lineCount = 0 |
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1
00 : 01 : 03,240 -> 00 : 01 : 06,312
곧 다시 봄이 될 것입니다.
2
00 : 01 : 06,360 -> 00 : 01 : 08,669
잔디 돋아.
3
00 : 01 : 10,080 -> 00 : 01 : 12,435
그렇다면 여름,
4
00 : 01 : 13,360-> 00 : 01 : 15,430
키 큰 잔디,
5
00 : 01 : 15,480 -> 00 : 01 : 16,629
태양.
6
00 : 01 : 17,760 -> 00 : 01 : 20,558
다음 가을,
7
00 : 01 : 21,360 -> 00 : 01 : 23,191
나뭇잎 떨어지고.
8
00 : 01 : 24,400 -> 00 : 01 : 26,118
그리고...
9
00 : 01 : 26,160 -> 00 : 01 : 27,639
겨울.
10
00 : 01 : 29,040 -> 00 : 01 : 30,871
봄.
11
00 : 01 : 32,560 -> 00 : 01 : 33,595
여름.
12
00 : 01 : 35,160 -> 00 : 01 : 36,195
가을.
13
00 : 01 : 37,920 -> 00 : 01 : 39,194
겨울!
14
00 : 09 : 04,800 -> 00 : 09 : 07,872
물론 상황이 있습니다.
15
00 : 09 : 07,920 -> 00 : 09 : 11,230
너는 완전히 말문이 막힌다.
16
00 : 09 : 11,800 -> 00 : 09 : 14,519
당신이 할 수있는 것은 사물에 대한 힌트입니다.
17
00 : 09 : 16,920 -> 00 : 09 : 19,957
단어들도 더 이상 할 수 없다.
18
00 : 09 : 20,800 -> 00 : 09 : 24,588
사물을 불러 일으키는 것보다.
19
00 : 09 : 25,480 -> 00 : 09 : 29,189
그것이 댄스가 다시 시작되는 곳입니다.
20
00 : 16 : 08,440 -> 00 : 16 : 10,874
피나는 화가였습니다.
21
00 : 16 : 10,920 -> 00 : 16 : 15,391
그녀는 끊임없이 우리에게 질문했습니다.
22
00 : 16 : 16,040 -> 00 : 16 : 17,917
그것이 우리가 페인트가 된 방법입니다.
23
00 : 16 : 17,960 -> 00 : 16 : 19,632
그녀의 이미지를 색칠하기.
24
00 : 16 : 19,680 -> 00 : 16 : 21,830
예를 들어 그녀는
25
00 : 16 : 21,880 -> 00 : 16 : 23,757
"달"?
26
00 : 16 : 23,800 -> 00 : 16 : 25,995
나는 내 몸으로 그 말을 묘사했다.
27
00 : 16 : 27,280 -> 00 : 16 : 29,669
그래서 그녀는 그것을보고 느낄 수있었습니다.
28
00 : 17 : 09,800 -> 00 : 17 : 14,078
나는 카페 뮐러에서 춤을 췄다.
29
00 : 17 : 14,120 -> 00 : 17 : 17,749
우리 모두 눈을 감았습니다.
30
00 : 17 : 17,800 -> 00 : 17 : 20,678
우리가 회상을했을 때,
31
00 : 17 : 20,720 -> 00 : 17 : 23,518
나는 감정을 되 찾을 수 없었다.
32
00 : 17 : 23,560 -> 00 : 17 : 27,553
나에게 너무 중요한 느낌.
33
00 : 17 : 27,600 -> 00 : 17 : 30,194
갑자기 나는 주목했다.
34
00 : 17 : 30,240 -> 00 : 17 : 32,071
그것은 큰 차이를 만든다.
35
00 : 17 : 32,120 -> 00 : 17 : 35,279
닫힌 눈꺼풀 뒤,
36
00 : 17 : 35,280 -> 00 : 17 : 38,875
내가 내려다 보든, 이렇게 했든.
37
00 : 17 : 39,920 -> 00 : 17 : 42,480
그것은 모든 차이를 만들었습니다!
38
00 : 17 : 42,520 -> 00 : 17 : 45,796
올바른 느낌
즉시 거기에 있었다.
39
00 : 17 : 47,880 -> 00 : 17 : 52,351
얼마나 중요한지는 믿기지 않습니다.
40
00 : 17 : 52,400 -> 00 : 17 : 57,155
가장 작은 세부 사항이 중요합니다.
41
00 : 17 : 57,200 -> 00 : 17 : 58,997
모든 언어
42
00 : 17 : 59,040 -> 00 : 18 : 01,031
읽는 법을 배울 수 있습니다.
43
00 : 18 : 15,360 -> 00 : 18 : 17,157
우리는 조각을 개발했습니다.
44
00 : 18 : 17,200 -> 00 : 18 : 18,758
2 주 만에 도미니크!
45
00 : 18 : 18,800 -> 00 : 18 : 21,234
속도는 믿을 수 없었다!
46
00 : 18 : 21,280 -> 00 : 18 : 24,033
그 아이디어가 어떻게 구체화되었는지 놀랍다.
47
00 : 18 : 24,080 -> 00 : 18 : 28,631
그냥 테이블과 네 의자에서.
48
00 : 18 : 28,680 -> 00 : 18 : 30,875
전형적인 피나! 기억해.
49
00 : 18 : 39,000 -> 00 : 18 : 41,389
50
00 : 18 : 41,440 -> 00 : 18 : 45,638
그럼, 쾅!
Rolf는 의자들과 놀았고,
51
00 : 18 : 45,680 -> 00 : 18 : 48,638
그리고 그것들은 조각에 필수 요소가되었습니다.
52
00 : 18 : 48,680 -> 00 : 18 : 51,035
너무 아름다워!
53
00 : 20 : 25,960 -> 00 : 20 : 27,951
1, 2, 3, 4, 5, 6, 7, 8, 9, 10.
54
00 : 21 : 07,480 -> 00 : 21 : 09,835
오노 카즈오도 우리를 떠났어.
55
00 : 21 : 09,880 -> 00 : 21 : 11,279
그리 오래 전에.
56
00 : 21 : 12,320 -> 00 : 21 : 14,550
나는 그와 피나를 거기에서 상상한다.
57
00 : 21 : 14,600 -> 00 : 21 : 16,556
함께 춤을 추는 ...
58
00 : 21 : 16,600 -> 00 : 21 : 18,989
한 구름에서 다른 구름으로 도약.
59
00 : 24 : 06,160 -> 00 : 24 : 08,515
피나는 가장 관통하는 눈을 가졌다!
60
00 : 24 : 09,080 -> 00 : 24 : 11,878
아무도 그처럼 나를 읽지 못했습니다.
61
00 : 24 : 12,760 -> 00 : 24 : 15,513
내가 시도했거나 척한 모든 것
62
00 : 24 : 15,560 -> 00 : 24 : 18,313
그녀의 시선 아래에서 사라졌다.
63
00 : 24 : 18,360 -> 00 : 24 : 20,669
대신, 그녀는 뭔가를 보았습니다.
64
00 : 24 : 20,720 -> 00 : 24 : 22,711
나는 두려웠다.
65
00 : 24 : 22,760 -> 00 : 24 : 25,399
왜냐하면 나는 아직 그것을 모르기 때문이다.
66
00 : 26 : 12,360 -> 00 : 26 : 13,998
피나가 누군 데?
67
00 : 26 : 14,640 -> 00 : 26 : 17,677
그녀는 결합했다.
취약성과 강도.
68
00 : 26 : 18,320 -> 00 : 26 : 20,276
그녀는 또한 능력이 있었다.
69
00 : 26 : 20,320 -> 00 : 26 : 22,595
끝없이 듣고보고,
70
00 : 26 : 22,640 -> 00 : 26 : 25,791
그녀의 모든 한계를 극복했다.
71
00 : 26 : 25,840 -> 00 : 26 : 27,990
그래서 나는 그녀를 집처럼 상상해.
72
00 : 26 : 28,040 -> 00 : 26 : 31,635
보물로 가득 찬 커다란 다락방이 있습니다.
73
00 : 29 : 39,680 -> 00 : 29 : 42,148
피나는 춤을 추지 않을거야.
74
00 : 29 : 42,200 -> 00 : 29 : 44,509
당신은 항상 당신의 움직임을 잊었습니다.
75
00 : 29 : 44,560 -> 00 : 29 : 47,199
우리는 그녀 없이는 그것을 거부했습니다!
76
00 : 29 : 47,240 -> 00 : 29 : 51,358
네가 주장했기 때문에 그녀가 참여했다.
77
00 : 29 : 51,400 -> 00 : 29 : 53,789
그녀가 내게 그 움직임을 보여줬습니까?
그것을 벗겨!
78
00 : 29 : 53,840 -> 00 : 29 : 55,512
그러나 사실입니다!
79
00 : 29 : 56,360 -> 00 : 29 : 58,920
나는 그녀가 춤을 추 었다고 주장했다.
80
00 : 29 : 58,960 -> 00 : 30 : 01,758
그게 사람들을위한 유일한 길 이었어.
무대에서 그녀를 만나러!
81
00 : 31 : 02,320 -> 00 : 31 : 04,880
나는 절대로 원했다.
Cafe Müller를 춤을 추기.
82
00 : 31 : 06,040 -> 00 : 31 : 08,508
언제
83
00 : 31 : 09,240 -> 00 : 31 : 10,798
나는 '예'라고 말했다.
84
00 : 31 : 10,840 -> 00 : 31 : 12,876
그러나 나는 결코 그것을 정말로 배웠다.
85
00 : 31 : 13,840 -> 00 : 31 : 16,274
나는 그녀가 영원히 춤을 추길 원했다.
86
00 : 31 : 17,000 -> 00 : 31 : 19,560
나는 그녀가 카페 뮐러를 그렇게 자주 만나는 것을 보았다.
87
00 : 31 : 20,400 -> 00 : 31 : 24,439
나는 그녀가 느끼는 것을 느끼고 싶었다.
88
00 : 31 : 25,080 -> 00 : 31 : 28,356
그녀는 마치 그녀가 가진 것처럼 움직였다.
그녀의 배에 구멍,
89
00 : 31 : 28,960 -> 00 : 31 : 31,997
그녀가 죽은 자 가운데서 살아난 것처럼.
90
00 : 31 : 32,040 -> 00 : 31 : 35,112
오늘 무대에 올 때,
91
00 : 31 : 36,000 -> 00 : 31 : 37,991
나는 Pina를 상상하려고 노력한다.
92
00 : 31 : 38,960 -> 00 : 31 : 40,996
그녀의 고통에서,
93
00 : 31 : 41,040 -> 00 : 31 : 43,031
그녀의 힘으로도
94
00 : 31 : 44,080 -> 00 : 31 : 45,991
그리고 그녀의 외로움.
95
00 : 33 : 46,840 -> 00 : 33 : 48,239
얼마나 자주
96
00 : 33 : 48,280 -> 00 : 33 : 51,556
내가 춤 췄나?
피나와 카페 뮐러,
97
00 : 33 : 51,600 -> 00 : 33 : 55,559
그녀의 머리카락, 등, 팔,
98
00 : 33 : 56,200 -> 00 : 33 : 58,111
알았어, 내 눈을 감고,
99
00 : 33 : 58,160 -> 00 : 34 : 01,277
그녀는 우리 모두를 알고 있었어!
100
00 : 34 : 02,320 -> 00 : 34 : 03,912
그녀는 모든 것을 보았습니다.
101
00 : 34 : 03,960 -> 00 : 34 : 05,871
눈을 감고도!
102
00 : 34 : 39,360 -> 00 : 34 : 41,669
우리는 항상 춤을 추며 웃었습니다.
103
00 : 34 : 41,720 -> 00 : 34 : 43,073
우리는 항상 함께했습니다.
104
00 : 34 : 43,120 -> 00 : 34 : 45,190
아침 4 시까 지
105
00 : 34 : 45,240 -> 00 : 34 : 48,073
다음날 무언가를 고안하는 것.
106
00 : 34 : 48,120 -> 00 : 34 : 50,429
그것은 회사 초기에있었습니다.
107
00 : 34 : 50,800 -> 00 : 34 : 53,917
우리는 Barmen 역에서 만났어.
108
00 : 34 : 53,960 -> 00 : 34 : 55,393
매일 아침
109
00 : 34 : 55,440 -> 00 : 34 : 57,078
커피와 롤을위한
110
00 : 34 : 57,120 -> 00 : 34 : 59,076
그날의 일을 끝내라.
111
00 : 35 : 03,440 -> 00 : 35 : 07,274
너는 항상 인간 이상을 느꼈다.
112
00 : 35 : 07,320 -> 00 : 35 : 09,311
피나와 일하고있어.
113
00 : 35 : 55,440 -> 00 : 35 : 56,759
좋았어요.
114
00 : 35 : 56,800 -> 00 : 35 : 59,553
피나와 함께 늙은 댄서가되고있어!
115
00 : 35 : 59,600 -> 00 : 36 : 02,910
음, 젊은 나이도 좋았습니다.
116
00 : 36 : 05,560 -> 00 : 36 : 09,439
나는 부퍼 탈에 왔을 때 24 살이었다.
117
00 : 36 : 09,480 -> 00 : 36 : 12,472
그러나 40 세가되면 점점 더 많이,
118
00 : 36 : 12,520 -> 00 : 36 : 16,752
나는이 모든 공간,
이 모든 기회! "
119
00 : 36 : 16,800 -> 00 : 36 : 19,598
피나의 눈은 우리가하는 모든 것을 바꾼다.
120
00 : 36 : 19,640 -> 00 : 36 : 23,235
훨씬 더 아름다운 무언가로.
121
00 : 36 : 23,800 -> 00 : 36 : 26,792
동시에 나이가 많고 어린 시절.
122
00 : 38 : 55,040 -> 00 : 38 : 57,759
Iphigenia의 엄청난 리허설 후에
123
00 : 38 : 57,800 -> 00 : 39 : 00,951
피나는 나에게 한 마디도하지 않았다.
124
00 : 39 : 01,000 -> 00 : 39 : 03,719
공연 전에,
125
00 : 39 : 03,760 -> 00 : 39 : 07,150
그녀는 평상시 와서 말했다.
"뤼첸, 좋지!"
126
00 : 39 : 07,200 -> 00 : 39 : 09,191
그리고 나는 언제나처럼 대답했다.
127
00 : 39 : 09,240 -> 00 : 39 : 11,071
"Pinchen, 그것을 즐겨라!"
128
00 : 39 : 11,120 -> 00 : 39 : 14,317
그녀는 떠났고, 문을 열고 말했습니다.
129
00 : 39 : 14,360 -> 00 : 39 : 17,397
"잊지 마라.
너 나를 놀라게해야 해! "
130
00 : 39 : 17,440 -> 00 : 39 : 19,396
바로 저의 머리가 회전하기 시작했습니다.
131
00 : 39 : 19,440 -> 00 : 39 : 22,671
그게 더 중요했습니다.
몇 시간 동안 이야기하는 것보다.
132
00 : 44 : 06,120 -> 00 : 44 : 08,839
회사의 새로운, 나는 아직 파악하지 않았다.
133
00 : 44 : 08,880 -> 00 : 44 : 10,393
피나가 어떻게 일했는지.
134
00 : 44 : 10,440-> 00 : 44 : 11,873
그리고 그녀는 그것을 설명하지 않았다.
135
00 : 44 : 12,280 -> 00 : 44 : 13,679
나는 길을 잃었다.
136
00 : 44 : 14,400 -> 00 : 44 : 15,992
깨달을 때까지
137
00 : 44 : 16,040 -> 00 : 44 : 18,918
나는 내 자신의 머리카락으로 자신을 끌어 올려야했다.
138
00 : 49 : 17,720 -> 00 : 49 : 19,915
송아지 고기 야!
139
00 : 52 : 43,760 -> 00 : 52 : 45,478
정직이란 무엇입니까?
140
00 : 52 : 45,520 -> 00 : 52 : 47,317
우리의 책임은 무엇입니까?
141
00 : 52 : 47,360 -> 00 : 52 : 49,874
우리가 춤을 출 때라도?
142
00 : 52 : 50,480 -> 00 : 52 : 53,916
피나는 우리에게 우리가하는 일에 설 수 있다고 가르쳤습니다.
143
00 : 52 : 53,960 -> 00 : 52 : 55,996
모든 제스처에 대해,
144
00 : 52 : 56,040 -> 00 : 52 : 58,235
모든 단계와 모든 움직임.
145
00 : 54 : 36,680 -> 00 : 54 : 39,399
피나는 항상 꺼내기를 원했어.
146
00 : 54 : 39,440 -> 00 : 54 : 41,908
그녀의 모든 댄서들에게 최고입니다.
147
00 : 54 : 43,200 -> 00 : 54 : 44,713
그녀가 나에게 말하면,
148
00 : 54 : 44,760 -> 00 : 54 : 48,036
"당신의 허약함도 당신의 힘입니다!"
149
01 : 04 : 11,000 -> 01 : 04 : 13,275
보름달을 위해
150
01 : 04 : 13,320 -> 01 : 04 : 17,233
그녀는 "기쁨"과 관련된 제스처를 요청했다.
151
01 : 04 : 17,920 -> 01 : 04 : 21,037
또는 움직이는 즐거움에.
152
01 : 04 : 21,600 -> 01 : 04 : 24,433
그 질문은 정말로 저에게 영감을주었습니다.
153
01 : 04 : 24,480 -> 01 : 04 : 28,598
내가 제시 한 운동에서,
154
01 : 04 : 28,640 -> 01 : 04 : 31,154
그녀는 전체 장면을 만들었습니다.
155
01 : 05 : 14,920 -> 01 : 05 : 16,592
나는 항상 구석에 있었다.
156
01 : 05 : 16,640 -> 01 : 05 : 18,949
또는 누군가 뒤에 숨어있는,
157
01 : 05 : 19,000 -> 01 : 05 : 20,911
그녀가 교정을 줄 때.
158
01 : 05 : 20,960 -> 01 : 05 : 24,316
아마 때문에
나는 그녀를 너무 존경했다.
159
01 : 05 : 24,360 -> 01 : 05 : 26,396
일단 그녀가 날 잡았어.
160
01 : 05 : 26,440 -> 01 : 05 : 28,795
그녀는 슬픈 목소리로 나에게 물었다.
161
01 : 05 : 28,840 -> 01 : 05 : 31,513
"Ditta, 왜 너는 나를 두려워하니?"
162
01 : 05 : 31,560-> 01 : 05 : 33,357
"나는 아무것도하지 않았다."
163
01 : 05 : 33,400 -> 01 : 05 : 34,958
그녀가 옳았다.
164
01 : 05 : 35,000 -> 01 : 05 : 38,470
그리고 점차 내 수줍음을 잃어 버렸습니다.
165
01 : 09 : 02,720 -> 01 : 09 : 05,075
가끔은 그녀가 말한 것처럼,
166
01 : 09 : 05,120 -> 01 : 09 : 06,872
"계속 검색!"
167
01 : 09 : 06,920 -> 01 : 09 : 08,956
그러나 그것이 그녀가 말한 전부입니다.
168
01 : 09 : 09,000 -> 01 : 09 : 11,309
계속 찾아야한다는 뜻 이었어.
169
01 : 09 : 11,360 -> 01 : 09 : 13,078
어디를보아야할지 모른 채
170
01 : 09 : 13,120 -> 01 : 09 : 16,271
당신이 옳은 길을 가고 있는지 여부도 아닙니다.
171
01 : 13 : 34,800 -> 01 : 13 : 38,270
피나, 아직 안 했어.
꿈꿔 왔어!
172
01 : 13 : 38,960 -> 01 : 13 : 42,350
꿈에 나를 방문하십시오.
173
01 : 13 : 42,400 -> 01 : 13 : 43,913
Daphnis로부터 소식을 받았습니다.
174
01 : 13 : 43,960 -> 01 : 13 : 45,678
누가 너를 항상 꿈꾸 느냐.
175
01 : 13 : 45,720 -> 01 : 13 : 47,438
그것은 동일하지 않습니다.
176
01 : 13 : 47,480 -> 01 : 13 : 50,153
네가 나타나면 좋을거야!
177
01 : 13 : 50,200 -> 01 : 13 : 52,191
나는 너를 기다리고있어, 피나.
178
01 : 14 : 36,720 -> 01 : 14 : 38,711
피나가 우리를 너무 빨리 떠났어.
179
01 : 14 : 39,760 -> 01 : 14 : 41,318
그래서 놀랍게도.
180
01 : 14 : 42,320 -> 01 : 14 : 44,515
나는 그것이 결국 생각한다.
181
01 : 14 : 44,560 -> 01 : 14 : 46,994
그녀는 뒤에 모든 것을 남겼다.
182
01 : 14 : 47,800 -> 01 : 14 : 49,518
그리고 자유 롭다.
183
01 : 14 : 50,400 -> 01 : 14 : 52,709
그래서 내가 그녀에게주고 싶었던거야.
184
01 : 14 : 53,240 -> 01 : 14 : 54,958
이 가벼운 순간,
185
01 : 14 : 55,760 -> 01 : 14 : 58,797
무중력의 느낌.
186
01 : 19 : 33,920 -> 01 : 19 : 36,275
의 딸로
도미니크와 말루
187
01 : 19 : 36,320 -> 01 : 19 : 39,118
나는 회사의 첫 아이였습니다.
188
01 : 19 : 39,160 -> 01 : 19 : 41,958
나는 Tanztheater에서 자랐다.
189
01 : 19 : 42,880 -> 01 : 19 : 44,757
피나없는 인생?
190
01 : 19 : 44,800 -> 01 : 19 : 46,677
나는 그것이 무엇인지 모른다.
191
01 : 20 : 28,320 -> 01 : 20 : 31,551
내가 부퍼 탈에서 새로 왔을 때
192
01 : 20 : 31,600 -> 01 : 20 : 34,512
몇 가지 사항에 대해 혼란 스러울 때,
193
01 : 20 : 34,560 -> 01 : 20 : 36,516
그녀는 간단하게 말했다 ...
194
01 : 21 : 42,880 -> 01 : 21 : 44,279
피나 (Pina)
195
01 : 21 : 44,320 -> 01 : 21 : 46,470
요소들은 매우 중요했습니다.
196
01 : 21 : 46,520 -> 01 : 21 : 49,159
모래 든 토양이든,
197
01 : 21 : 49,200 -> 01 : 21 : 51,395
돌 또는 물 ...
198
01 : 21 : 51,440 -> 01 : 21 : 54,955
어떻게 든 빙산
무대에 바위가 나타났습니다.
199
01 : 21 : 55,000 -> 01 : 21 : 57,639
우리가 춤을 추면 ...
200
01 : 21 : 57,680 -> 01 : 21 : 59,033
장애물.
201
01 : 21 : 59,080 -> 01 : 22 : 02,834
너는 가야 해.
또는 그들을 통해,
202
01 : 22 : 02,880 -> 01 : 22 : 04,871
또는 그들을 등반하십시오 ...
203
01 : 29 : 25,800 -> 01 : 29 : 28,360
피나는 급진적 인 탐험가였다.
204
01 : 29 : 28,400 -> 01 : 29 : 31,039
그녀는 우리 영혼을 깊이 들여다 보았다.
205
01 : 29 : 31,080 -> 01 : 29 : 34,629
특정 주제가 하나있었습니다.
그녀는 계속 우리에게 다음과 같이 묻고 있었다.
206
01 : 29 : 34,680 -> 01 : 29 : 37,035
우리는 무엇을 갈망 하는가?
207
01 : 29 : 37,080 -> 01 : 29 : 40,356
이 모든 것은 어디에서 발생합니까?
갈망은 어디서 온거야?