Jérôme Bel
Jérôme Bel ( born October 14, 1964 in Montpellier ) is a French choreographer and dancer. He lives in Paris and works as a freelance artist worldwide. His work can be seen regularly at major festivals and venues in Europe program. Bel is considered a representative of the " concept dance ", which makes the operations of the performing arts even the subject of his pieces. 2005 Bel received the prestigious " Bessie Award" for The show must go on ( 2001 in New York listed ). In 2008 he was by the European Cultural Foundation ( ECF) together with the Thai dancer Pichet Klunchun for the common piece Pichet Klunchun & myself (2005) awarded the Dutch "Princess Margriet Award".
Artistic Career
Bel studied in the years 1984 and 1985 dance at the Centre National de Danse Contemporaine in Angers, France. For the next six years he danced until 1991 for various choreographers in France and Italy, among others Angelin Preljocaj in pieces, Régis Obadia, Daniel Larrieu and Caterina Sagna. In 1992, he assisted the director and choreographer Philippe Découflé for the ceremonies of the XVI. Olympic Winter Games in Albertville in 1992.
In 1994 Bel developed his first piece Nom donné par l' auteur, a choreography for ten items, and two performers. This was followed by Jérôme Bel (1995), Shirtology (1997) and The last performance (1998). 2001 was the award-winning work The show must go on for 20 performers, 19 pop songs and a DJ. 2004 worked Bel The show must go on 2
The performance Véronique Doisneau implemented during 2004 the beginning of a performance series, in the Bel life of selected artists of performative documented and scrutinized their experience and skills. Originally Bel was invited to create a piece for the Ballet of the Paris Opera. Finally, however, we followed his desire to work out a solo for Véronique Doisneau, a dancer of the corps de ballet. Usually, the individual disappears here in a regimented mass, while the audience's attention is directed to the soloists. In deliberate contrast Bel portrays the dancer in a 30 -minute solo that bears her name. The 41 -year-old at the time a piece of development nearing retirement. More theatrically staged biographies arise with the pieces Isabel Torres ( 2005), Pichet Klunchun and myself (2005 ), Lutz Förster ( 2009) and Cédric Andrieux ( 2009).
Also in 2009, worked Bel A spectator. In an hour long monologue, which he lists, he reflects different experiences he has even made a "normal viewer ". In 2010 Bel created together with the Belgian choreographer Anne Teresa De Keersmaeker the piece 3 farewell to the music of The Song of the Earth - original by Gustav Mahler, here in the version of Arnold Schoenberg and Rainer Riehn. 2012 Bel's work follows Disabled Theatre with disabled actors of the ensemble of Theater HORA, which - similar to his series of documentary Solos - represents the artists personalities themselves. In Germany the play at the Ruhr Triennale premiere. After that it was, inter alia, seen at the Documenta (13 ) in Kassel and at the reopening of the Hebbel am Ufer for 2012/ 13 in Berlin.
Filming of Bel's pieces are on different art biennials, such as shown in Lyon, Porto Alegre and Tirana, as well as in museums, for example, the Centre Georges Pompidou in Paris and Metz, at the Hayward Gallery and the Tate Gallery of Modern Art in London, and the Museum of Modern Art (MOMA ) in New York.
Style
Bel's choreographic work usually break with the conventions of theater and dance. It removes the traditional stage art its konstituitiven elements. In Bel's pieces will sprout pad not an illusion, there is no " How - do - as-if ". His actors do not "play". His dancers "dance" is not, at least not virtuosic. Accordingly, he also does not use light, music and props to produce effects that let the audience immerse themselves in another world. By Bel leaves out traditional means of expression, " as an extension to the dance avant-garde of the 1960s ," it is possible to question the conditions of origin of the performing arts.
Theoretically follows Bel so central ideas in deconstructionism and post-structuralism. Accordingly, he locates itself at the French philosophers of the late or post-modernity as Guy Debord, Roland Barthes, Jacques Derrida and Michel Foucault. The turning away from the spectacle plays a central role (see Guy Debord: The Society of the Spectacle ). Bel is opposed to the "representation theater ", are in the immediate experiences replaced by signs and as a make-believe world far removed from reality is created. Bel's works undermine the traditional roles of the actor on the stage towards the audience in front of the stage. For example, Bel on the common expectation of the audience, " anything to get stopped," in his plays often bare. Sabina Huschka for example, writes about the performance The show must go on (2001):
Bel is about to destroy the " spectacle" in the theater. The dominance, the power of seduction that go out from him, is unbearable.
Reception
Bel is one of the much-discussed choreographers of our time. Some critics question whether one can actually describe him as a choreographer, on the grounds that he does not show dance " dancing ", but stood theater aesthetic issues and understanding of dance in our culture in the foreground. Otherwise he is considered the " most radical and important" Choreographer of the young generation, as a " star of the French conceptual choreographer ". Bel " is the only world-famous rightly choreographer " in the concept of dance, writes the Frankfurter Allgemeine Zeitung in view of the performance of Disabled Theatre at the Festival d' Avignon in 2012. He 'll help to better understand the conditions of the theater, which was equally liberating for art and the public. In contrast, there are critical voices, especially of " conservative observers ", which Bel's pieces appear as Veronique Doisneau at the opening gala of the Paris Opera in 2004, superficial, " is of little interest and volatile effect " and that they be desired in the execution " very left " could .. the world premiere of The show must go on led to a " scandal " at the Hamburger Schauspielhaus, where the play opened in 2000, the first season of the new director Tom Stromberg. There was heckling to " rude vulgar behavior " on the part of viewers, some calling back the price of admission.
2005 Bel received the prestigious New York " Bessie Award for innovative achievements in dance and performance " for The show must go on (2001), a piece that belonged to the repertoire of the Hamburg Schauspielhaus between 2000 and 2005. The Ballet of the Opera Lyon took the piece in 2007 also, here it is shown until 2014. The European Cultural Foundation ( ECF) recorded Bel 2008 together with the Thai dancer Pichet Klunchun for the common piece Pichet Klunchun & myself (2005) with the doped to 20,000 euros Netherlands ' Princess Margriet Award ". In May 2013 ' Disabled Theatre " (2012 ) was invited as one of ten productions to the Berlin Theatre Meeting. At the invitation of and in the Jury very controversial piece was part of the theater meeting, a symposium entitled " disabled on the stage - artists or exhibits " instead ..
Financing
The organization " Association RB Jerome " Bel Bel's work in Paris produced in association with changing co-producers. Some organizers finance Bel on a regular basis, others do depending on the current production support. The French Ministry of Culture and Communication and the Ministry of Foreign Affairs in France support the international performances of his works.
Were the German-speaking and Bel's pieces among other things, of the Federal Cultural Foundation, Hebbel am Ufer ( Berlin), Senate Department for Science, Research and Culture (Berlin), Dance Workshop Berlin, European Centre for the Arts Hellerau (Dresden), Theater an der Wien (Vienna) and International Dance Weeks / pulse dance (Vienna) coproduced.