Jérôme Bel

Das Auftreten behinderter Schauspieler auf der Bühne zählt zu den ästhetischen Tendenzen des postdramatischen Theaters und deren damit verbundenen Kritik am Repräsentationstheater. Die physische Bühnenpräsenz eines „devianten“ Körpers, der „durch Krankheit, Behinderung, Entstellung von der Norm abweicht“ und normalerweise „›unmoralische‹ Faszination, Unbehagen oder Angst auslöst“, bietet dem Gegenwartstheater die Möglichkeit, sowohl die ästhetischen Mittel und die Politik der Institution des Theaters kritisch zu überdenken als auch den Fiktionalisierungs- und Konstruktionsvorgang „jener gewissen“ Wirklichkeit bzw. präsumierten Normalität zu beobachten, denn „die postdramatischen Theatertexte und Aufführungen schaffen einen Erkenntnisraum, der den Zuschauern die soziokulturelle Konstruktion gesellschaftlicher Normen sowie deren psychische Verankerung und körperliche Manifestation im Subjekt bewusst macht“. Unter diesen Umständen erweisen sich die Theaterproduktionen Christoph Schlingensiefs, Jérôme Bels und seit 2017 auch Milo Raus als brisante Beispiele vom Theaterarbeiten mit körperlich und geistig behinderten Schauspielern.

... are created by artists coming from different cultures and countries, with sometimes conflictingaesthetic agendas, antagonistic ... the field of dance spectatorship by making stillness and sweatan ex-plicit agent of meaning. ... Mantero's shock wave is an underground tectonic shift. ...

This thesis aims to investigate the aesthetic and critic potentialities related to the presence of the actors of everyday life in the context of contemporary performing arts, addressing creations produced in Brazil and Europe at the beginning of 21st century. The term includes people who do not necessarily have artistic training and are invited to take part in current creations from a self- referential perspective. We start from the hypothesis that the incorporation of actors of everyday life collaborate to change the “regime of visibility” (RANCIÈRE, 2009) of bodies and subjectivities in the context of performing  arts, by broadening the possibilities about who acts in theatre and dance. From the dialogue with the concepts of theatres of the real (SAISON, 1998; FERNANDES, 2010; MARTIN, 2013), expanded theatricality (DIÉGUEZ, 2014; SÁNCHEZ, 2015), and audience theatricality (CORNAGO, 2015), this research focuses on the analysis of the trajectory and of specific works of artists from the contemporary scene who stand out by their work with actors of everyday life, such as French director Jérôme Bel, the Brazilian Cia. Hiato, the Swiss-German collective Rimini Protokoll, and Catalan director Roger Bernat. From this analysis, we outline some some potentialities linked to their works, focusing on the subversion of traditional theatrical codes of representation, the intensification of experience sharing with the spectator, the approach of the performing arts with the fields of reality and everyday life, the questioning of issues relating to otherness, the irruption of a theatricality of the collective, the projection of mirrors with the audience and its participation in the work, and, finally, the dialogue with the context in which the spectacle takes place. That kind of participation reflects a specific way with which theatre and dance have been working their language expansion. And it shows how the presence of everyday actors collaborates to transform the “ways of doing” and the “ways of thinking” (RANCIÈRE, 2009) of the contemporary performing arts.

En esta investigación se profundiza en la analogía existente entre el concepto de teatro posdramático y el movimiento no danza con el fin de desarrollar una metodología para examinar las propuestas coreográficas que se circunscriben dentro del denominado movimiento no danza. Para construir esta herramienta de estudio, se partirá del esquema tipológico presentado por el filósofo inglés Peter Osborne para definir la negación en el arte conceptual que se da a través de cuatro características: la negación de la objetividad material, la negación de la especificidad del medio, la negación de la significación visual y la negación de la autonomía de la obra de arte. Dicho esquema nos servirá para verificar el vínculo entre lo posdramático y la no danza, pero mediante la idea de ausencia, no como negación. Luego, este instrumento se aplicará a través del análisis de cuatro elementos de la estética posdramática como son el texto, el cuerpo, el espacio y el tiempo con la finalidad de explorar la forma en que se manifiestan dichos aspectos en las cuatro primeras piezas dancísticas del coreógrafo francés Jérôme Bel, quien es considerado uno de los líderes del movimiento no danza. Los montajes de Bel a analizar serán Nom donné par l’auteur (1994), Jérôme Bel (1995), Shirtologie (1997) y Le dernier spectacle (1998). De este modo se explicará cómo es que, a través del concepto de ausencia como recurso estético, no sólo se reflexiona sobre la danza misma, sino que también se manifiesta el discurso posdramático de crítica a la representación escénica en general.

This research delves into the existing analogy between the concept of postdramatic theater and the non-dance movement in order to develop a methodology to examine the choreographic proposals that are circumscribed within the so-called non-dance movement. To build this study tool, we will start from the typological scheme presented by English philosopher Peter Osborne to define the negation in conceptual art that occurs through four characteristics: the denial of material objectivity, the denial of the specificity of the medium, the negation of visual significance and denial of the autonomy of the artwork. This scheme will help us to verify the link between the postdramatic and non-dance, but through the idea of absence, not as negation. Then, this instrument will be applied through the analysis of four elements of postdramatic aesthetics such as text, body, space and time in order to explore the way in which these aspects are manifested in the first four dance pieces of the French choreographer Jérôme Bel, who is considered one of the leaders of the non-dance movement. The montages of Bel to be analyzed are Nom donné par l’auteur (1994), Jérôme Bel (1995), Shirtologie (1997) y Le dernier spectacle (1998). In this way, it will be explained how, through the concept of absence as an aesthetic resource, not only is it reflected on dance itself, but also the postdramatic discourse of criticism of stage representation in general is manifested.

Temas
Bel, Jérôme--Crítica e interpretación
Teatro europeo
Arte conceptual
Danza
Artes escénicas

El coreógrafo francés Jérôme Bel utiliza de una manera particular los recursos usualmente conocidos que componen un montaje de danza, para producir espectáculos que se cuestionen sobre la concepción misma de este tipo de piezas con el fin de generar un discurso de crítica a la representación teatral. Es así como la construcción de la negación, que se presenta en el concepto de teatro posdramático, es el componente principal para generar dicha crítica, la cual se manifiesta mediante la noción de ausencia que se presenta en varios de sus elementos como son el cuerpo, el espacio y el tiempo. De este modo es que Bel lleva al extremo dichos factores hasta alcanzar la situación límite a la que llegan todos los sistemas formales: la autorreferencia; lo que origina que la danza se convierta en una entidad autorreproductora que se expresa sobre sí misma, como una especie de metadanza. De esta manera, Bel crea una nueva forma de trabajo coreográfico en donde la audiencia colabora en la autorreproducción de la danza, ya que contribuye a que emerja la sensación de infinito: dos espejos que se encuentran frente a frente y que son obligados a reflejarse mutuamente durante el desarrollo del montaje.
Palabras clave: Jérôme Bel, No Danza, teatro posdramático, ausencia, metadanza

French choreographer Jérôme Bel uses in a particular way the usually known resources that are part of a dance performance, to produce shows that question the very conception of this type of pieces in order to create a critical discourse to the theatrical representation in their shows. This is how the construction of negation, which is presented in the concept of postdramatic theater, is the main component to create such criticism, which is manifested by the notion of absence that occurs in several of its elements such as body, space and time. In this way, Bel takes these factors to extremes until arriving at the limit situation reached by all the formal systems: self-reference, which causes that dance becomes a self-reproducing entity that expresses itself, as a kind of metadance. In this way, Bel creates a new mode of choreographic work where the audience collaborates in the self-reproduction of the dance, since it contributes to the emergence of the sensation of infinity: two mirrors that meet face to face and that are forced to reflect each other throughout the development of the show.
Keywords: Jérôme Bel, non-dance, postdramatic theatre, absence, metadance

Jérôme Bel’s Disabled Theater, a dance piece featuring eleven actors with cognitive disabilities from Zurich's Theater HORA, has polarized audiences worldwide. Some have celebrated the performance as an outstanding exploration of presence and representation; others have criticized it as a contemporary freak show. This impassioned reception provokes important questions about the role of people with cognitive disabilities within theater and dance—and within society writ large. Using Disabled Theater as the basis for a broad, interdisciplinary discussion of performance and disability, this volume explores the intersections of politics and aesthetics, inclusion and exclusion, and identity and empowerment. Can the stage serve as a place of emancipation for people with disabilities? To what extent are performers with disabilities able to challenge and subvert the rules of society? What would a performance look like without an ideology of ability?

Contributions by Jérôme Bel, Kai van Eikels, Kati Kroß, André Lepecki, Lars Nowak, Yvonne Rainer, Gerald Siegmund, Yvonne Schmidt, Sandra Umathum, Scott Wallin, Benjamin Wihstutz and actors of Theater Hora.

Al yuxtaponer algunos episodios clave en el desarrollo de la danza y la antropología contemporáneas, pretendo arrojar luz sobre un momento crucial en la historia reciente de las artes escénicas. Después de rastrear las semejanzas y las diferencias entre el teatro posdramático y lo que Rudi Laermans propone llamar la “danza en general”, me enfoco en la antropología sociocultural para delimitar más claramente el tipo de reflexividad que se despliega en obras de danza contemporánea como Pichet Klunchun and Myself (2005) de Jérôme Bel y Product of Other Circumstances (2009) de Xavier Le Roy. Paralelamente, reconstruyo estas dos obras y sondeo el alcance de una reflexividad que no opera "desde fuera" sino "desde dentro". Además, ya que en ambos casos se trata de una reflexividad que gira en torno al problema de la alteridad, esto resulta particularmente relevante para la propia antropología. A un nivel más general, pongo de manifiesto que las artes escénicas y las ciencias antropológicas son empresas convergentes.

Quais os limites entre um trabalho criativo de encenação e um trabalho curatorial? A partir da observação de duas séries de espetáculos documentários biográficos – Mis documentos (2012-2017), de Lola Arias, e os solos de dançarinos do coreógrafo Jérôme Bel (2004-2009) –, propusemos uma reflexão sobre autoria e curadoria nesse gênero de espetáculos, pois, mesmo realizando trabalhos similares, Lola Arias designa seu trabalho como “curadoria” e Jérôme Bel, não. O estudo se interessou por esse modo de produção cênica, principalmente pelos diferentes caminhos que levaram os dois artistas ao uso dessa forma e as relações autorais entre o encenador e o sujeito que compõe e interpreta sua biografia.

Idén februárban mutatta be a Hodworks és az Unusual Syptoms a Harmonia című táncprodukciót, amelynek az egyik különlegessége, hogy fogyatékossággal élő alkotók is közreműködnek benne. Az előadás beleilleszkedik egy hazai és nemzetközi trendbe, amely során az elmúlt évtizedben egyre több az ideális színészképzetet dekonstruáló, nem-normatív testű személyt láthatunk a színpadokon. Abból a szempontból ugyanakkor a jelenség nem új, hogy az emberiség mindig is állított ki nem-normatív testű alkotókat csak éppen más formában. Nagyobb történeti távlatokat nézve elsősorban ennek a gyakorlatnak a kulturális keretezése az, ami változott az idők során: milyen társadalmi gyakorlat részeként, milyen diskurzusba ágyazva történt meg a színpadra állítás, másszóval,
hogy mit gondoltak az adott korban például a másságról. Így, ami most a színházban zajlik, nem független az identitáspolitika és az emancipáció más megnyilvánulási formáitól sem, például, hogy a divatban is egyre több nem-normatív testű modellt láthatunk. Szintén februárban debütált a Victoria’s Secret első Down-szindrómás modellje.

Transforming the crowds scattered throughout a performance venue into an aesthetic community demands that all persons present subscribe to a theatrical pact. If any of the participants lack the ability to contract, the form of aesthetic community dissolves into thin air. People with socially recognized disabilities as performers threaten to render the theatrical pact inoperative, thus disabling theater as an aesthetic event. Jérôme Bel’s »Disabled Theater« tests what happens when the decent collectivity of the aesthetic community is exposed to the risk of collapse. Employing the materiality of ‘disabled’ to a most unsettling effect, Bel devises a deliberately cynical trade with the audience in order to re-establish the aesthetic dignity of theatrical art under unlikely conditions. Rather than expect from Disabled Theater a warm-hearted lesson about how to integrate disability in a barrier-free society, we can see in this work the price of integration where it has been taking place: in aesthetic form.

Quais os limites entre um trabalho criativo de encenação e um trabalho curatorial? A partir da observação de duas séries de espetáculos documentários biográficos – Mis documentos (2012-2017), de Lola Arias, e os solos de dançarinos do coreógrafo Jérôme Bel (2004-2009) –, propusemos uma reflexão sobre autoria e curadoria nesse gênero de espetáculos, pois, mesmo realizando trabalhos similares, Lola Arias designa seu trabalho como “curadoria” e Jérôme Bel, não. O estudo se interessou por esse modo de produção cênica, principalmente pelos diferentes caminhos que levaram os dois artistas ao uso dessa forma e as relações autorais entre o encenador e o sujeito que compõe e interpreta sua biografia.

La méfiance à l'égard du professionnalisme peut être constatée dans diffé-rentes créations contemporaines. Le théâtre dit documentaire, par exemple, met souvent en scène ces personnalités non professionnelles que le collectif allemand Rimini Protokoll appelle d'ailleurs les « experts du quotidien » 1. Des troupes établies comme Grand Magasin sont composées d'artistes qui se vantent de leur « méconnaissance quasi totale du théâtre » 2. Ce duo avoue apprécier « le savoir-faire dans la vie quotidienne, par exemple, chez un plombier. Dans le domaine du spectacle, les démonstrations de virtuosité, souvent, [les] ennuient » 3. Des façons de jouer un peu gauches, qui font penser à un manque de spécialisation, sont volontairement recherchées par des metteurs en scène comme Philippe Quesne ou se retrouvent parfois dans la désinvolture quasi excessive du jeu des comédiens de Christiane Jatahy ou d'Enrique Diaz. Dans le présent article, nous nous intéresserons à deux artistes représentatifs de la scène contemporaine française : le chorégraphe Jérôme Bel, qui met en scène dans certaines de ses créations des danseurs inexpérimentés, et Philippe Quesne, metteur en scène et directeur du Centre dramatique national Nanterre-Amandiers, pour qui l’artiste amateur semble être un modèle. Ces deux cas nous permettront de comprendre la façon dont cette scène contemporaine s’empare de la figure de l’amateur comme d’un fantasme autorisant une critique de l’art professionnel.

This project follows the fleeting trace of swans across time and choreographic tradition. I explore French postmodern choreographer Jerome Bel's dance, Veronique Doisneau, focusing on its quotations from Rudolph Nureyev's staging of Swan Lake to consider questions of queer time and the long shadow of the aesthetic legacies of absolutism. This essay is forthcoming in Clare Croft, ed., The Makings and Meanings of Queer Dance.