Jérôme Bel


September 9, 2023 21:00

La Compagnia - Firenze | IT

15€ / 13€ * / 10€ **

* Over 65; Arci, Unicoop Firenze, Controradio Club, Institut françai, Touring Club Italiano, Lungarno, IREOS, Centro Pecci Prato cardholders, holders of tickets for exhibitions and Amici di Palazzo Strozzi
** University, Accademia Belle Arti, IED, Polimoda students; students of dance schools with special agreements

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Tickets are also purchasable at
PARC, P.le delle Cascine 7, Florence
Tue > Sun h 5pm-7pm

also scheduled on
September 10, 2023 21:00

With this piece devised for Elizabeth Schwartz, Jérôme Bel is continuing his series of portraits of dancers, which he embarked upon in 2004, focusing on the figure of one of her specialities, Isadora Duncan.
Unlike Véronique Doisneau, Cédric Andrieux and Pichet Klunchun and myself, Jérôme Bel here, for the first time, draws the portrait of a deceased choreographer, based on her autobiographical work, Ma Vie [My Life].
Jérôme Bel discovers, beneath the romantic figure, a visionary choreographer who, through her great freedom of expression, favouring spontaneity and naturalness, provided the bases of modern dance, which in turn lie at the root of contemporary dance.
Mixing discursive and sensitive styles, spoken moments and danced solos, the performance brings to life the memory of free dance, by associating choreographic know-how with the spectacle experience. When linked with Jérôme Bel’s concerns about dance as a lever of emancipation, Isadora Duncan’s teaching, rekindled here, makes it possible to assert the topical nature of her critical potential.

In his early pieces (name given by the author, Jérôme Bel, Shirtology…), Jérôme Bel (Montpellier, 1964) applied structuralist operations to dance in order to single out the primary elements from theatrical spectacle. The neutralization of formal criteria and the distance he took from choreographic language led him to reduce his pieces to their operative minimum, the better to bring out a critical reading of the economy of the stage, and of the body on it.
His interest subsequently shifted from dance as a stage practice to the issue of the performer as a particular individual. The series of portraits of dancers (Véronique Doisneau, Cédric Andrieux, Isadora Duncan…) broaches dance through the narrative of those who practice it, emphasizes words in a dance spectacle, and stresses the issue of the singularity of the stage. Here, formal and institutional criticism takes the form of a deconstruction through discourse, in a subversive gesture which radicalizes its relation to choreography.
Through his use of biography, Jérôme Bel politicizes his questions, aware as he is of the crisis involving the subject in contemporary society and the forms its representation takes on stage. In embryonic form in The show must go on, he deals with questions about what the theatre can be in a political sense—questions which come to the fore from Disabled Theater and Gala on. In offering the stage to non-traditional performers (amateurs, people with physical and mental handicaps, children…), he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art.
Since 2019, for ecological reasons, Jérôme Bel and his company no longer use airplanes for their travels and it is with this new paradigm that his latest performances (Xiao Ke, Laura Pante…) have been created and produced.
He has been invited to contemporary art biennials and museums (Tate Modern, MoMA, Documenta 13, the Louvre…), where he has put on performances and shown films. Two of them, Véronique Doisneau and Shirtology, are in the collections of the Musée National d’Art Moderne-Centre Pompidou. Jérôme Bel is regularly invited to give lectures at universities (Waseda, UCLA, Stanford…). In 2013, together with the choreographer Boris Charmatz, he co-authored Emails 2009-2010, which was published by Les Presses du Réel.
In 2005, Jérôme Bel received a Bessie Award for the performances of The show must go on given in New York. Three years later, with Pichet Klunchun, he won the Routes Princesse Margriet Award for Cultural Diversity (European Cultural Foundation) for the performance Pichet Klunchun and myself. Disabled Theater was chosen in 2013 for the Theatertreffen in Berlin and won the Swiss “present-day dance creation” prize. In 2021, Jérôme Bel and Wu-Kang Chen received the Taishin Performing Arts Award for the performance Dances for Wu-Kang Chen.

concept: Jérôme Bel
choreography: Isadora Duncan
with Elisabeth Schwartz and Chiara Gallerani
production: R.B. Jérôme Bel
co-production: La Commune centre dramatique national d’Aubervilliers, Les Spectacles Vivants – Centre Georges Pompidou (Paris), Festival d’Automne à Paris, R.B. Jérôme Bel (Paris), Tanz im August/ HAU Hebbel am Ufer (Berlin), BIT Teatergarasjen (Bergen)
with the support of : CND Centre National de la Danse (Pantin) in the frame of its residency program, MC93 (Bobigny), Ménagerie de Verre (Paris) in the framework of Studiolab, for providing studio spaces
R.B Jérôme Bel is supported by the Direction régionale des affaires culturelles d’Ile-de-France, French Ministry for Culture.
Jérôme Bel est associated artist to Le Quartz – scène nationale de Brest and to Centre national de la danse (Pantin).
Isadora Duncan at Fabbrica Europa is supported by Fondazione Nuovi Mecenati – Fondazione franco-italiana di sostegno alla creazione contemporanea.

photo: Véronique Ellena











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