Jerome Bel and Theater Hora “Disabled Theater” challenged my preexisting notions of dance, and while I found the performance to be moving and insightful, I felt that much of the piece strayed from the physicality of dance and resembled a speaking platform to vocalize the plight of those with learning disabilities. I recognized the structure Jerome Bel used, which was similar to what was used in “Véronique Doisneau”. There was a narrative that facilitated the flow of the piece: in “Disabled Theater,” the narrative was by the multiple actors, but also translated to English. Initially I thought this language barrier would further distance the audience from the actors, but by the end of the performance, I realized that, having acclimatized to the delay in comprehension, this was not the case.
By the end of the performance, I felt that I had gained much on a humanistic level by understanding the performers as individuals, and not merely people with learning disabilities. I felt that the performers themselves, and not so much their actions, were imbued with the message of the piece. Their personalities and expression through taste of music and dance, which are very personal, showcased who they were aside from their disabilities, However, through the perspective of a student in an arts course, I felt that the performance was more a platform to express the plight of disabled individuals than a dance performance. This is not to undermine the performance’s profundity. Rather, I felt that the dance aspects of the piece (which were powerful in their autonomy) were eclipsed by the series of question and answer sessions that dominated the piece. In fact, the performers were referred to as actors, as oppose to performers or dancers.
I was particularly moved when one of the actors brought up the idea that the performance was like a freak show that was exploiting their disabilities. I completely understood this point. I feel that if the purpose was to showcase that people with learning disabilities are just like anyone else, they should not be isolated in a group where all members have a learning disability, but rather incorporated into a group where individuals without any learning disabilities are also present. In the end, however, it seemed that the actors sincerely enjoyed their time on stage, which to me made it seem successful.
I feel that Jerome Bel has a responsibility to the actors of Theater Hora beyond the performance if he truly believes in the message I conjectured the piece was about. As I am an amateur to the institution of dance, I do not know if there are any obligations a choreographer has to his or her performers after a show. Yet on a humanistic level, if Bel’s motive behind the piece was to empower those with learning disabilities, his work should not end with the performance. If it did, I would see the performance as exploitation of the actors. If not, I would view the performance as an outlet that will catalyze the growth and expression of the actors.
~Prima (Blog B)
