title : Gala (2015)
conception : Jérôme Bel
assistant : Maxime Kurvers
by and with : casting in progress
costumes : the dancers
production : R.B. Jérôme Bel (Paris)
coproduction : Dance Umbrella (London), TheaterWorks Singapore/72-13, KunstenFestivaldesArts (Brussels), Tanzquartier Wien, Nanterre-Amandiers Centre Dramatique National, Festival d'Automne à Paris, Theater Chur (Chur) and TAK Theater Liechtenstein (Schaan) - TanzPlan Ost, Fondazione La Biennale di Venezia, Théâtre de la Ville (Paris), HAU Hebbel am Ufer (Berlin), BIT Teatergarasjen (Bergen), La Commune Centre dramatique national d’Aubervilliers, Tanzhaus nrw (Düsseldorf), House on Fire with the support of the European Union cultural program
with the support of : Centre National de la Danse (Pantin) and Ménagerie de Verre (Paris) in the framework of Studiolab for providing studio spaces
thanks to : the partners and participants of the Dance and voice workshops, NL Architects and Les rendez-vous d’ailleurs
duration : 1h30 approx
R.B Jérôme Bel is supported by the Direction régionale des affaires culturelles d'Ile-de-France, French Ministry for Culture and Communication, by the Institut Français, French Ministry for Foreign Affairs, for its international tours and by ONDA - Office National de Diffusion Artistique - for its tours in France
R.B. Jérôme Bel :
artistic advice and executive direction : Rebecca Lee
production manager : Sandro Grando
technical advice : Gilles Gentner
website : www.jeromebel.fr
Gala forces audience expectations to the fore, and blurs the lines between failure and success in performance as it suggests that theater is community, both onstage and off. It’s a tour de force, wildly entertaining and truly radical.
Roslyn Sulcas, The New York Times, May 13th, 2015
Take a different approach to dance. Open up theatre to those who are never represented there. Ask how art leads us to a common ground. A major artist of the contemporary scene, Jérôme Bel is returning with a proposal which came to the fore during a workshop with amateurs in Seine-Saint-Denis. The gala, an art form that is both festive and collective, brings together dance professionals and amateurs of diverse backgrounds. The different acts never call on us to pass judgement, but they reveal the way in which each person’s cultural repertoire involves them in a singular relationship with that desire for something else, for joy, perfection, transfiguration and political divides which dance is. An inventory of this “unqualifiable dance” does not only show the multiplicity of its aesthetic models. It plays its role through a shared desire.
Marie-José Malis, director of La Commune Centre dramatique national d’Aubervilliers
After Disabled Theater, a piece performed by a troupe of mentally handicapped actors, and Cour d'honneur, which put a group of spectators centre stage, Gala uses the same question as its starting point: how can we bring to the realms of onstage representation individuals and bodies that are all too often excluded from such a possibility? How can we make best use of all the various resources of this unique apparatus, the theatre - with its codes, venues, genres and professionals - in order to enlarge the perimeter of what can be shown in it? And how can we (re)shape it into a democratic means that lies within the grasp of all those drawn to dance, singing and the performing arts?
Driven on by the experience of workshops run with amateurs, Jérôme Bel sought to set down a flexible framework to travel with, and which could give rise to a wide variety of forms. He wanted it to be accessible to amateurs from all different horizons and to provide them with the opportunity to give their all and make the project their own. In doing so, he took that most 'commonplace' of theatrical experiences: the gala, a festive, group occasion, spanning end-of-year shows and amateur performances. He then subverted the genre in order to cover different styles and fragments of stories, which would build up an inventory of a dance 'with no particular qualities' and bring out all the possible relationships that are unique to the body and voice. What is it that makes us dance? How do we watch dance that might be fragile and precarious without indulging in notions of judgement, such as 'well done' or 'badly done'?
The result is a gala that is bitty, patched up, traversed by moments of reflection, like galleries of living portraits. With its 'Fail again. Fail better' emphasis, Gala goes from one theatre to the next, like 'a mirror taking a stroll by the side of a road', and brings home to us something about the making of those we are watching as well as the way we watch.