While watching Jerome Bel’s “Disabled Theater,” I really was unsure of what to make of it at first.  It is obviously a very unique piece and there are many things that one needs to take into consideration when reviewing it.  Although it is controversial, and some could argue that these disabled actors are being taken advantage of, that may not necessarily be true.

Firstly, I do not believe that Jerome Bel has a responsibility to these actors beyond the performance.  He chose the performers that he wanted for his piece, created a performance for them, and they were paid to perform.  Aside from that, I do not feel that he owes the performers any more than a choreographer would owe performers who are not disabled.

The debate over whether these actors are being exploited is very complicated and I could see the point of view of both sides.  On one hand, it does seem that most of the entertainment derived from this performance came from the fact that these actors were disabled in various ways.  In this way, Jerome Bel is exploiting their disabilities to create an entertaining performance.  This came to light especially when the actors spoke about what their families thought of the piece.  It was described as a “freak show” and many of the performers stated that their families did not enjoy it.  I can understand why their families would feel this way and not enjoy seeing their disabled sons/daughters and brothers/sisters used as a spectacle for an audience to stare and laugh at.

However, I do not believe that Jerome Bel intended to exploit these performers, nor do I think he took advantage of them.  I would assume that all of these people willingly did the performance and are paid for their services.  In addition to this, they were given an opportunity that they otherwise may have never received.  Everyone in the audience could obviously see the pure joy and elation these performers got while dancing and watching each other perform on stage.  When you look at it this way, it seems that Jerome isn’t taking advantage of these actors, but instead he is daring enough to give these people a chance when no one else will.

After seeing Jerome Bel’s piece with the Disabled Theater, I had a lot of difficulty in constructing my opinion based on the piece. While my instinct told me that what I had just seen was great, there was something in the back of my head that just didn’t feel right enjoying the performance that I had just seen. I had no idea what to expect going into the performance and towards the beginning I didn’t think the performers were going to do more than just stand idly and some nervously onstage. However as the show progressed, these people that often times get ignored and out casted in society became alive and it was one of the most unique performances I’ve ever seen. To be able to watch them just be happy in dancing and doing what they liked to do as actors and actresses, entertaining, made me take into consideration everything that I do and all of the little things in my life that I let affect me. If those 10 people who have had a rougher life than I could ever imagine could go up on a stage and be so carefree, laugh without worry and just be themselves was amazing. I’m almost ashamed to say that I, a healthy person with a stereotypically normal functioning mind and body, have insecurities and might not have been able to do what they did on that stage with whatever conditions they had.

They were very entertaining and I loved the show up until the part where one of the men explained how his mother felt about the performance. He said that she felt it was a freak show and compared them to a circus act. It was this statement that made me realize in a way that these people may have been being exploited. Yes, if I went up on a stage, a person with no disabilities, and did what they did it still would’ve been funny at times but I’m not 100 percent sure that the audience didn’t laugh a little bit harder subconsciously because they did have different disorders. I’m still very undecided as to how I feel about this performance however, my first thought is to say that if the performers were happy then it shouldn’t matter how anyone else receives it. Just like we previously studied in more visual styles of art like paintings and sculptures, art is a form of self-expression and isn’t necessarily for the enjoyment of the viewer or audience rather than for the enjoyment and release of the artist or in this case artists.

Even though I do have my concerns I think Jerome Bel doesn’t have responsibility over the performances and while he did create a controversial work I don’t think he purposefully exploited the performers. I think subconsciously people who are viewing this performance automatically feel guilty for doing the first thing you are taught not to do when faced with people with disorders like down syndrome: stare and laugh. Because of this fact it’s easy to feel like Jerome Bel is exploiting them but we have to realize that they are people who make choices and their choice was to do what they love and perform. Maybe as people we’ve progressed in that we don’t make fun of people with disorders but maybe we’ve begun to treat them in such a special way that they’ve ceased to remain as people in our minds. Its hard to accept things and people that you don’t understand but I think this show was a great way to enter into their minds and have them enter our hearts in order become more real and less of a scary thought that you can just push into the corners of your mind.

-Yasmin

Jerome Bel accomplished quite an astounding feat in creating his “Disabled Theater” piece with Theater Hora. He was able to take the idea of “disability”–one that we are sometimes afraid of or, more often, simply unwilling or unable to fully understand–and force us to give our undivided attention to it. There were no moments more singularly powerful and raw as those in the very beginning of the piece when the ten actors were asked to come out one by one and present themselves to the audience. No speaking, no sound–just their very presence, emanating out from the center of the flat stage and reaching every corner of the rather small, yet captivated, audience. The silence alone could speak volumes. This opening act was significant for the fact that it simultaneously underscored and juxtaposed itself with the idea that those with disabilities are passive, silent members of their often cold-hearted society. We are struck by the fact that all we have to observe on stage for a minute is an actor with a disability–a sight that we very often do not have the chance or the patience to see–standing there and doing absolutely nothing but stare back at us. There is irony and power in the fact that the rest of the performance proceeds to contrast directly with the silence we experienced in these initial moments.

What Jerome Bel does in “Disabled Theater” is give these disabled persons a voice, one that they are rarely given the true opportunity to share. Not simply a speaking voice, which they are given an abundance of opportunities to explore, but also a creative one. Bel gives these actors freedom and with this freedom comes emotional liberation. He tells them they are free to make up their own dance, complete with their own choreography and music choice. And with this simple request, a performance of the purest, most unadulterated joy I have ever witnessed across a stage was born. I have never smiled as much both during and after a performance as I did for Bel’s truly brilliant piece of work.

The actors, who have disabilities ranging from more mild forms of learning weakness to more severe cases of Down’s Syndrome, were encouraged to put their all into this performance and to speak their truth, but what really added a level to the entire performance was the fact that Bel simply encouraged them to be themselves. With “Disabled Theater”, Bel taps into the creative passion and genius that lies within each individual, no matter what their external or internal disability. Anyone can be an artist, and this is never more apparent than it is in this performance. I was astounded by the creativity and true passion these actors possessed regarding their artistic expression. In particular, I was shocked and delighted by how accurately and entertainingly one of the younger actresses was able to capture the essence of Michael Jackson in her dance to his song “They Don’t Care About Us.” The symbolism of this song choice was not at all lost on the audience either. Many of the dances performed similarly surprised me with their vitality and fiery inner spirit. Every movement had been chosen for a reason by these actors and I was breathlessly anticipating what new excitement each dance would bring because each was memorable in its uniqueness.

Everything about “Disabled Theater” is intimate and extremely personal. There is little distance between the stage and the audience, with some audience members even sitting on the edge of the floor of the stage itself. There is a strikingly strong sense of closeness between the audience and the actors on stage, which seems to have been a deliberate choice on Jerome Bel’s part when selecting New York Live Arts as a venue. This closeness was not merely a physical, material closeness but also one of propinquity, a proximal and psychological nearness that is a major factor in establishing relationships between people. I felt a kinship to these actors as they danced and performed and laughed alongside their company members and friends. There was something so whole-heartedly normal about the entire experience that I couldn’t help but feel happy at seeing these people just be themselves and relate to their love for the things they do. Although there were more somber, realistic moments scattered throughout the performance regarding the truths of mental disability, I really would say that the feeling of the night was happiness and joy.

For this reason, I don’t believe Jerome Bel has any obligation to these actors after the performance is over. Theater Hora is already a well-established and respected theater company in Sweden and I never got the impression that it was because of Jerome Bel that they were getting any sort of recognition outside their home country. “Disabled Theater” was a partnership between this choreographer and theater company, not at all Jerome Bel doing a favor for or exploiting the actors in the company for the sake of his own agenda. It seems to me that all Bel and the actors hoped to do by putting on this performance was to make the audience think, even if only for the 90 minutes of the piece, that disabled persons are no more or less different than any of us without a disability. There is such strength and resiliency in the characters of those living with a disability. There is such power and respectability in the fact that they try to live their lives without letting the disability become a hindrance. There is so much to admire about these individuals who have likely experienced more pain, suffering, and hardship than we ever will in all our years, and yet who can still manage to end the night with a smile dancing across their face and laughter escaping from between their lips. Jerome Bel is not taking advantage of these actors at all; rather he is broadening their horizons and asking them to open themselves up to an audience that simply wants to understand.

–Norine Chan (Blog A)

I missed the performance we were supposed to go to as a group on Thursday because I came 15 minutes late and they wouldn’t let me in, despite Professor Uchizono’s warning. However, I bought a ticket for Sunday and I had an absolutely marvelous time. I purchased a ticket for a floor seat and I made a new friend while there! We had a really good time together and simply enjoyed the dances – It felt like I was watching this dance the way dance is made to be seen, which is not with a class but with another person.

I thought this dance was extremely endearing and it felt like my heart grew from watching this performance. Sitting in the very front less than 5 feet from the actors, literally touching the floor with my body,  made me “feel” the dances a lot more. I could feel there stomps and jumps, their energy was intoxicating. I loved Bel’s choice of introduction and specifically the progression in the introduction. At first we just have to look at them for a minute each, something which built up comfort and broke barriers – definitely on the audiences part, perhaps the performers felt this as well. Next we are introduced to them by name, age and profession (all actors/actresses – not dancers, curiously) and finally we are introduced to their disability. By the time we get to the disability though, it doesn’t feel uncomfortable, it just is a statement of fact – we have already been “desensitized” to the actors and we, at least I, stopped seeing them as “disabled” by this point.

Unfortunately I didn’t get the playbill and I don’t remember the dancer’s names by heart so I can’t refer to them by name but I will try to be as specific as possible.

When the 31 year old giant man came on stage, his whole essence was deceptive. When he finally began to dance with his spinning chair, the serious tone of this performance left the theater. He was smiling and shaking and having a grand old time. Not only was he happy, his peers were also happy, cheering him on and taking part and reinforcing the jovial nature of the performance – as they did with all the performances. The dance wasn’t extremely complicated but he put in energy and spunk and it wasn’t haphazardly put together nor was it a hodgepodge of movements, it was simple and fluid and wonderful. Other dancers like Julia and her rendition of Michael Jackson’s “They Don’t Really Care About Us” were more complicated but they never lost the flair that made all of them standout. These were people performing, well – extremely well, and they all had extreme disabilities – though they don’t necessarily look at it that way.

They were all happy when they were dancing; Julia – who said “I have down’s syndrome and I’m sorry,” who looked shell-shocked when she first came out, was smiling once her performance started, and once it ended, and once she sprawled out comfortably over the large side of her cohort Remo (I think the 31 year old) and another cast member, who both smiled and gladly welcomed her into their laps – just like they did the 48 year old during her performance of “Dancing Queen.” This performer epitomized the important points of this performance, or a great number of them. She gave it her all physically, we could see her panting heavily when her performance was done; she didn’t care about perceptions as we saw when she shamelessly (and rightfully so) picked her wedgie loose; she was there to have a good time, and she did; she demystified herself through the dance, she was no longer a disabled performer, she was the dancing queen, young and sweet, only seventeen.

Throughout the performance I was trying to understand how responsibility was involved. The only thoughts I had were that despite their difficulties these people were still putting out enormous effort to create enormous works. They weren’t dealt the best hand but they made it work, and it did work. There is no excuse for being dealt an average hand and not making it work, and there is absolutely no excuse whatsoever if you are dealt pocket queens (A very, very good hand in Texas Hold Em’).

Jerome Bel puts our vision into perspective, showing us that disability does not mean death. One by one, as the performers come up to share their disability, Bel Humanizes them in a very powerful way. We see them struggling to take the mic down and put it back up, each in their own way; we see them smile at each other when they come back from their mic session or performance. We see them being humans in the truest sense of the word, laughing together, performing together, helping each other – at some point one of the performer’s zipper got snagged in the middle of their sweater and another performer helped them to fix it. I don’t know why he chose to show the 3 dances he didn’t chose, but I really didn’t care, because I wasn’t there to enjoy Jerome Bel and his choices (Well, I was, but that’s not the point) I was there to enjoy the dancers and their presence, and the 3 that he didn’t chose were just as wonderful and heartwarming as the rest, albeit a little stranger and/or more plain.

I also found it odd that the translator really didn’t have a role other than translator, or rather that she assumed no greater role than just translator. Throughout the entire performance I thought she was going to somehow get involved. She was dressed in Nike kicks with ankle warmers and tight washed out jeans and a slightly more grey sweater top  – she looked cool and like a dancer, but she never did – she just smiled and looked on as the performers did their thing, and maybe that was the point: you don’t need to be a cool dancer to be a cool dancer; or rather, you don’t need to look like a cool dancer to be a cool dancer.

I really can’t stress this enough, this performance was mesmerizing and invigorating. I felt so happy watching these free spirits fly across the stage, genuinely not concerned about their disabilities. I don’t know if I understood the message or exactly what I understood, but I know I was having a great time watching them do their thing.

(This was posted at 12:11 AM but wordpress doesn’t seem to have adjusted for daylights savings time – Ilizar Yusupov)

Walking into the theatre, I had no idea what to expect. Sitting so close to the stage, I was able to see 10 chairs arranged in a neat semi-circle with an untouched bottle of water next to each. I had read nothing about this piece prior to coming to the theater because I was very excited about the performance and was excited to see the product of the collaboration between Jerome Bell and Theater Hora. The first thing I distinctly remember was the calm, neutral tone of the translator and sound manager, Simone Truong. After hearing her speak, I assumed the performance would be a somber one, but I was pleasantly surprised. Disabled Theater was short enough to keep the audience riveted to the stage, but long enough to paint a picture about the situations of the actors and for the audience to see a piece of the actors as people.

The first thing the actors did was come out on stage one by one and stand still for one minute. The actors put themselves in a spotlight, allowing the audience to every one of their idiosyncrasies, from their gait to their expression to their clothes. Living in a society where it is impolite, even politically incorrect to stare at the disabled for too long. People tend to simply ignore them, acting as if they are not there. By asking the actors to stand in front of the audience and forcing us to stare at them, Bell tries to show us that it is in fact okay to look. Disabled people are humans as well; there is no need to treat them as caged animals and walk on eggshells around them because all they want is to be treated the same – they do not want our pity. After each of the actors stood onstage, they came on one-by-one again and stated their name, age and profession. The actors all ranged in age from late 20’s to early 40s, even though many of them did not look their age. Looking at all of them finally sitting in their seats, I was overcome with the sense of how little direction Bell had given the actors. Even if all their movements were choreographed, it all looked so nature. Some sat, feet jiggling on the floor. Others fidgeted, and others mumbled to themselves. The actors were not restraining their own character when they were on stage; in fact it seemed even stronger, and more intense.

The main part of the performance was the solo dance pieces by the actors. Bell originally chooses 7 of the pieces, but we later see that all of them are performed. This simple decision itself was possibly a statement on the idea of exclusion and how disabled people should not be separated from others. The solo dance pieces were all unique and separate from one another. While I thoroughly enjoyed all of them, my favorite ones were the dances set to the Michael Jackson song and the Gummy Bear song. All of them, however, clearly showed the actors personalities and character. We were able to understand things about them that would not have come up in conversation. The fact that their dances helped the actors open up to the audience really shocked me, and made me look at the dance piece’s we’re doing in class in a whole different light. We are showcasing a part of ourselves to others that cannot be done through any other medium; dance is something that comes from the soul and should be taken to the heart.

My favorite part of the performance, which was also the most touching, was when the actors discussed their own feelings on the piece. Many of them gave single word answers, but one of the actors talked about how his family didn’t like it, and how his sister cried when going home because it was like looking at “freaks at a circus”. I understand they must be feeling angry and confused, hoping everything Jerome Bell did was not simply for the sake of the performance. I feel that Bell did well in tackling such an important yet rarely discussed issue. He was able to show us that people treat the disabled differently because of fear of the unknown – they simply do not know how to treat them. However, this entire performance showed us that there is no wrong in treating them as our equals; in fact, it is what should be done. All of the performers talked about how they enjoyed being in the piece, and for that I am glad. While I do not believe that Jerome Bell has any personal responsibility to the actors in Theater Hora, I assume that he will continue to voice his own opinions on the treatment of the disabled through other performances and mediums. The only way this piece would be seen as an exploitation of the actors is if the piece was made for the sake of being performed. If the audience and Bell was at all changed by his work and looks at the situation in a different light, then I feel as if it has done some good to the world.

Malavika (B)

Jerome Bel’s Disabled Theater was an extremely powerful and moving performance that uniquely involved self-pronounced actors who all had a mental deficiency. These disabilities ranged from a learning disability to trisomy 21, or down syndrome. Aside from the obvious controversy this piece would promote, Disabled Theater also tugged at the heartstrings with it’s extremely quirky cast and emotional stories. Through the power of dance, these “actors” lost all inhibitions and “acted like myself” as one of the dancers put it.

The piece was centered around a competitive platform with the translator prefacing that only 7 of the 10 performances were picked by Jerome Bel. I really enjoyed this part of the performance because it treats these performers like one would treat any performer: without discrimination. I’ve heard many times from those with mental disabilities that one of their main desires is that people stop pitying them because they cannot learn to live with their disability if everyone else reminds them of it constantly. This very human quality of the piece made the performances both more interesting and emotional. It also gives the performers a goal to work towards instead of just telling them to do whatever they want. This structure allowed for the performance to be very clean and overall enjoyable.

The piece was also very emotionally charged. Preceding the performances was a half-hour introduction of the performers, allowing us to hear their voices as they told us their profession and their disability. Additionally, every performance was so heartfelt that the audience could sense the hard work and enjoyment seeping through the music and the dances. As someone was performing, the emotion of their piece melded very well with the disposition of the other performers as they moved to the music, often singing the words or even fooling around with each other. This piece had just enough structure to allow for the actors to look unscripted. It also added to the piece, making it look very natural and fun. Throughout all the performances, I was smiling non-stop at the effort I saw being displayed on stage as well as the enjoyment on the faces of the performers, regardless of whether or not they were the center stage or waiting in the background. This was definitely one of the most enjoyable elements of the piece and also a factor in it’s individuality.

When speaking about emotion, one cannot help but thing about the effects of this piece on the performers and how they will live after their tour is over. As adults with mental disabilities, they require assistance with many everyday tasks. Their guardians still take care of them, and many of the performers have stated how unenjoyable they can be to their parents. Herein lies the question of whether or not Jerome Bel should keep in touch with these performers after the shows or if he should treat them like any other performer and left them move on with their lives. One might think that if he goes with the latter, he was only using these performers to bring attention to his piece, and subsequently himself as well. However, if adhering to the idea that the mentally disadvantaged want to be treated without pity, one might think the former is a good idea. Personally, I would want Jerome to keep in touch with them and possibly include them in another piece. Seeing their enjoyment as they were on stage was very heartwarming for me and invigorating for them. I’d hope that they continue honing their talent.

When one thinks of people with a mental disability, the image of a mostly incapacitated person comes to mind. Disabled Theater challenges this idea, providing a platform for 10 very talented but disabled adults to vent their feelings in a fun and creative manner. If this show was shown again, I would very much consider watching it again. It is possibly my favorite show this year, only rivaled by Two Boys.

-Stanley Chen (Blog A)

Certainly a show that I would not have expected to see in an art class and that I would not have seen on my own, I was surprised that I did enjoy Jerome Bell’s “Disabled Theatre”.

The show started off very slow, but it picked up when the dancer’s finally got to perform. Even though their performance’s weren’t technically sound, you could see that every one of the dancers truly loved what they were doing and that they were having  great time on stage, which made me smile.

One thing that struck me as odd at first was that Jerome cut three of the performances. I didn’t think it was fair or right of him to do that; however, as revealed later on in the show, he decided to include all 10 performances, so that made me feel better.

Just as a lifeguard bears no responsibility for people who leave the pool area, Jerome Bell does not bear any responsibility for the actors after the show. He is certainly not exploiting their disabilities for the sake of creating a controversial piece because Theatre Hora is made up of individuals who voluntarily chose to be performers because of their love for dance and artistic expression; they did not become performers to be coddled because of their disabilities. And also, even though they are disabled individuals, the dancers in Theatre Hora should be treated as normal people would be.

Overall, I had to say that I did enjoy the experience, and although I will probably never see a show like that again, I’m happy that I got the chance to.

-John Wetmore (Blog A)

The Jerome Bel and Theater Hora “Disabled Theater” is the most touching and exciting performance I’ve seen so far.  It started off in a serious tone with the actors being asked to come out one by one and stand in front of the audience for one minute.  Already society’s barrier of disability vs ability is introduced with each actor being put face to face with us.  As I would imagine, it is uncomfortable for any actor to remain stationary and be the sole subject of attention– some of them closed their eyes whether from the blinding light or being looked at by a large crowd.  On the flip side, the audience may not be used to looking directly at disability, eye-to-eye.

Then the actors introduced their name, age, profession, mental disability, presented a short dance, and said what they thought of it.  By the end of the performance, I felt like I really got to know the actors.  We were able to break not just the barrier of being disabled verses disabled, but also the imaginary “fourth wall” that usually exists between performers and there audience.  Even the delay in translation was not a barrier because just the tone of their voice told a lot about what they were saying.

When the 10 performers were asked to say what their profession is, I expected a variety of answers.  Instead, each and every one of them introduced themselves as an actor or actress.  I guess this fits in with the name of their group, Theater Hora.  Nevertheless, it was interesting because if these people were acting out anything, they were acting out themselves.  This goes against what we’re used to actors doing, pretending to be someone else.

Relating to our discussion on privilege in class, I believe that theater gives these actors the privilege be who they are, something they probably have less freedom to do in daily life.  Theater is a venue for them to express themselves, to be normal, and not have to feel different.  In daily life, these people probably get a lot of unwanted pity or attention.  Theater gives them attention as well, but a different kind of attention on them showcasing their talent, just like any other actor would.  Therefore, I don’t think that Jerome Bel is exploiting Theater Hora to make a controversial dance.  As for his responsibilities, unless he completely breaks off connection with them, I believe it is understandable that a choreographer moves around working with different theater/dance groups.

Besides some of the collective question and answer sessions, the performance was lighter and exciting in nature.  The actors were all so enthusiastic when their name was called, especially when it was their turn to dance.  Their personalities really shone through their dance and they danced so freely, as if no one was watching them.  Even when they weren’t dancing, they bopped along to the music and sang along.  The actors were very much a community.   They were supportive of each other from checking on each other to make sure the other person was ok, hanging up their jacket and helping them put it on, and even allowing them to rest on their lap.  They were having so much fun that I was enjoying myself as well.  I couldn’t help smiling, laughing, and cheering them on.

~Erica Kwong (Blog B)

Her sweater is so orange, I thought, captured by the bright neon attire of Sara Hess, an actress at Theater HORA. The hoodie emanated a glowing orange hue as a result of the strongly diffused light of the stage. Her unfocused gaze to the audience perplexed me as I tried to understand why she was squinting at the audience with a confused expression. Little did I realize that I was witnessing the work of Theater HORA and noted Jérôme Bel.

A collaboration between Jérôme Bel and Theater HORA, “Disabled Theater” is considered the quintessential model of a real and controversial theatrical performance. Theater HORA is a company known to believe in the abilities of disabilities. By this belief, it emphasizes the strengths and peculiarities of a person’s disability and looks to enhance a performance given these differences. Jérôme Bel, on the other hand, is notorious for his strong approaches to controversial materials.

The partnership of these two different artistic entities, created a highly applaudable performance. “Disabled Theater” was and still is one of the greatest theatrical performances ever melded from contemporary settings. As a performance where the actors played themselves, the show is bound to reach a cleverness hardly surpassable. Bel’s script to the play is aimed to resemble a realistic representation of a character. What better way to learn about a person than with an interview? This setting, however, is not conducted as an usual form of interview, but rather an international collective interview. The international factor, one of the most interesting elements of the play, is given by the difference in languages of both actors and director and audience. Jérôme Bel, a French artist, Theater HORA, a German company, and the audience, from New York, all differed in linguistic comprehension. An interpreter is then necessary to allow the performance to unravel and demonstrate the irrelevance of a language barrier in the portrayal of a particular message or issue.

Because of this collection of responses through one interview, Jérôme Bel created a panel-like stage with a stage for performance in front of the carefully positioned chairs. Each scene is played by a question asked by the Jérôme and then translated through the interpreter. The actors, then, take turns in exhibiting their responses, from quiet gazes to carefree dances. The most interesting aspect of these presentation, is not only the genuine realism with which all actors performed their roles, but rather the background responses which they may have unknowingly released during their colleague’s segments. Oftentimes, in fact, I found myself smiling at the quirky relationship between Julia Hausermann and Remo Beuggert, whom were sitting next to each other and bobbing their heads to the rhythm of Damian Bright’s dance. Touched by the abilities of these disabilities, I left New York Live Arts with a different perception of privilege as a factor not determined by physique or mentality, but rather by talent and strength as I was able to witness things that even I could never do, no matter how ‘privileged’.

As a consequence, Jérôme Bel’s piece leaves matter with a controversial theme. What is to happen to the performers post-“Disabled Theater”? Apparentely, notorious for his artistic talent, Jérôme Bel is also known to be capable of moving onto future artistic projects without much of an affectionate adieau. His superficial parting from a project can then be seen as a perplexing issue as these actors have exposed their disabled essences to a wide audience and are then abandoned once the performances end. However, I believe things will turn out well. As performers, the actors have clearly developed a strong sense of fellowship toward one another and I am confident the bond goes beyond the simple pretentious acts of a play. Supporters of the touching movements started by “Disabled Theater” will also, hopefully, engage in a realistic solution to the rehabilitation of the actor’s routines in the world. Although, Jérôme Bel may view it as a mere artistic venture, “Disabled Theater” should otherwise be considered a movement which gained recognition among a variety of artistic fanatics. And a movement will always cause change.

Keith Merlin Anne Ilagan (Blog B)

Jerome Bel’s “Disabled Theater” provided an outlet for both the performers and those in the audience to either release their inner personalities or remove the barrier that society created that stands between us and the disabled. The performance was freeing and entertaining. It was a treat for both the actors and the audience to get to spend an hour and half together to learn about the performers and to see the solos that each one prepared.

During the beginning of the performance, I thought that it would have a more serious and sullen mood because of the mellow tone that the translator spoke in. She spoke very calmly and steadily and referred to each performer very slowly when she told them what part of the performance was going to be next. That impression was soon proved wrong however when the performers showcased their solos one by one. Each 3-5 minute piece was short but sweet. This theater piece suited our class agenda perfectly because since we all have the upcoming final presentation, we were all able to learn from the performers on how to encapsulate a small amount of ideas into one performance rather than bombard the audience with a million different ones. Although our presentations obviously hold different subjects of interests, it was still helpful to see how a short dance can capture a part of what the performer wants to express but at the same time, not have the dance be “all over the place”.

In all honesty, I thought that the separation of the dance solos (first, the best seven, and then the originally rejected three) was unnecessary and unfair. I understood that in the end, all ten dances were shown, so no one was excluded; however, I felt like the additional division between the performances provided a possible barrier and division along the performers themselves, which was absolutely pointless. “Disabled Theater” had, as Prima wrote, a similar structure as “Véronique Doisneau” because it showed the contrast between the “better” dancers and those that were outcast into the background. I remember one of the last three performers had played an instrument during one of the first seven performances. Even though she took part in the earlier performances, there still obviously hung a sense of departure between the worse three and the rest of the group during the time when the audience thought that they would not be performing. In a sense, it was relieving to see that Bel didn’t exclude them in the end and allowed them to perform too.

I think that the most touching but heart-wrenching part of the performance was when the performers spoke about their feelings on the piece. One said that, “I get to be no one else but myself.” Another said, “My sister cried because she said we were like a freak show at the circus.” Obviously, Jerome Bel’s piece comes off as extremely controversial in terms of the responsibility he takes on now with the performers and the messages that comes with the performance. I have to say that although I do not agree with his most probable attitude of just moving on to the next piece after the showing of “Disabled Theater” is over and leaving the performers behind, I do think that his decision to attack this controversial idea and to make this piece was extremely brave and respected. Given the societal boundaries that are present between the different “groups” present in our lives, Jerome Bel not only knocked those boundaries down in this performance but also allowed the audience to gain insight on what it means to be free and to truly be comfortable.The camaraderie present between the ten performers was also so sweet – the way they sang and danced in the background as the solos went on showed how supportive they were of one another and how genuinely happy and excited they were to perform together.

I loved the performance not because we were able to see disabled people perform. I loved the performance so much because we were able to see performers act out their own selves and incorporate music and movements they loved into their performance to make the final piece truly personal and enjoyable.

-Winnie Yu (Blog A)