The author of the French dance theatre, Jerome Bel, was the scene of a 2012 production, Disabled Theatre. Jerome Bel has always been known for opening this hallowed stage to ordinary people, and this time he brought the "others" of society to the stage in an attempt to turn their wounds into flowers and show the life power of the human body.
The scene was a Down Syndrome patient who danced with Michael Jackson, "They Don't Care About Us." This short few minutes is the performance time of this blue girl - the few moments of her life.
duration
01:52
Disabled Theater (2012) - Trailler
She exaggerates, is unbalanced, distorts, but she is full, glamorous, and in every move, she is at the centre of the spotlight. The body is talking: we immediately read her story: it is angry, provocative, shivering, an imperfect body, a disabled person in a conventional society. It has gone through countless pastes, been discriminated against, marginalized, left on the opposite side of beauty and health to live silently in silence no one has ever known that it has such a wonderful soul, such an amazing glow.
The stage gave her the space to show. On the stage, she is unique, and she has received attention and an opportunity to look back at the world.
She sings for herself, for her body, and for her dignity, which is not flawed. On stage she's a living sculpture, a dance file.
01
Stage
Born of darkness.
The stage was born of darkness, "all great myths are dark", as Alto had already stated in his cruel theatre manifesto.
A toast to the wine god.
At the beginning of the theatre, the theatre belonged to the night. At the Jubilee of Wine, religious rituals coincided with mythical worship - when the sun set, the unconscious of mankind was fermented. The routine of daytime can be placed on stage, as if it were in the arms of Mother Earth, into a dark mother of dreams and into an inclusive arena.
Valenciennes-stage
On the left is heaven, on the right is hell, in the middle is the other set.
The stage embraces all suppressed desires, it's a unconscious fermentation. In the dark, dark currents lurking beneath a solid reality can finally rise to the surface.
The black stage is like Gaia, the mother of the earth, who, in silence, acts as a performer and a medium of her own unconscious. It attempts to link the physical presence of this shore on the stage and the unwitting, deep-seated desire for true self on the other side.
Jerzy Grotowski for "The Prince of Faith."
02
Escape from social roles
♪ The shackles ♪
Replay yourself.
"...theatricals are intended to give life to the things that we suppress... and to guide them better..."
Alto.
Antonin Artaud
French pioneer dramatist, "The brutal drama"
On the stage, it is detached from the role of everyday life into the dramatic situation of withdrawal. Theater is the place to satisfy your desire to escape.
Any discontent with reality or rebellion can be expressed here. There is no need to play any fictional character, to abandon a range of social roles such as parents, children, couples, superiors, and simply to focus on who I am and into your personal myth. In fleeing the drama of everyday life, the stage has become an exit from which the desire to be confined to real social actors can be released. The stage is like a mirror, and it reflects the hidden world inside you.
Piña Bosh, the Spring Festival.
On the stage, you can release the suppressed true desires of your heart and show yourself that you don't want to be seen by anyone. Leave it alone, relax. You can make mistakes without being subject to the rules of the outside world. It is you who perform on the stage, the true, the free, the only one who belongs to you. This is both liberation and return.
Piña Bosh is playing Mueller's Cafe.
03
On stage.
Look at yourself.
Reborn in awakening.
On stage, you're the focus of attention. The nature of the performance is to be seen. Watch-acting interactive mechanisms can help you open up, because you have to look at yourself like an audience. In the process, the repressed heart can gradually develop. This is a great opportunity to liberate ourselves: to forget what was before and to organize a new me.
P4 Theater's stage
P4 Theater platform's "porning - performing" mechanism is more consciously self-imaged. In front of the camera, first of all, there's a visual performance. Filming in the performance situation requires more focus and input from participants than in the setup in the studio. This concentration of consciousness reinforces the idea that I know that I am being watched, so that I can look more closely at and feel myself being watched.
P4 Theater's stage
The stage of P4 Theater is surrounded by two thick layers of black velvet, which is a closed black container in the dark box. The foot step on the table, the slight shaking vibrating and the banging echo suggest an unrealistic feeling. It's like going into a dream -- falling from the reality and falling into the dark side of the curtain.
The stage leads us to unconscious intermediaries, connecting dreams to awakens. When we close our eyes in the dark, the operation of the dream begins, with a role called upon by memory. The true picture of our hearts is here to be reactivated and replayed. In awakening, there will be consternation, tension, joy and freedom, all gifts from the stage.
Kazuo Ohno.
From Alto, to Meyehod, Glotowski, Pina Bosh, Otano, the theatre artists also prove to us, with their physical presence on the stage, that the body is forgetful, that the spiritual concentration is able to combine energy with spirituality, and that we can hear the real voices in our hearts.
Every performer standing on the stage has an imaginary eye looking at him, a glimpse of the essence of the human desire to perform. So, acting on stage you are not an isolated individual. You represent the desires of more people, and you do what others want to do, and you do what they cannot, and you go to where they want to go.
"Hamlet" by Las Edinger.
It is a belief to complete the sacrifice of the body on the stage and to sacrifice the disciplined self under the yoke that gives us the hope of freeing ourselves and rebirth.
Perhaps the poem of Artil Rambo says the voice of everyone who desires the stage: "I want to be everyone". So, do you want to get on stage?
The good people are watching.