The SHow Must Go On: Q&A with Jérôme Bel

Q.: In 1992 you assisted Philippe Deouflé with the direction of the opening ceremony for the 16th Winter Olympics in Albertville – and here we are in the Cultural Olympiad for the 2010 Winter Olympics. The spectacle of the Olympic ceremonies is very different than your works, which bring the audience into sharing space and time. Did you make a conscious transition?

A.: Working on Olympic ceremonies can only be an exceptional experience, which has nothing to do with the shows that are produced for regular theatres. The scale is totally different. But the fact is, there actually is a link between my current work and the 1992 Olympics: It was thanks to the money I earned in Albertville that I was able to spend two whole years, without income and leading a somewhat frugal lifestyle, doing research for my projects.

You came to Vancouver in 2009 to present the show Pichet Klunchun and myself. You are now back in Vancouver with another show; does that mean that you have a particularly close relationship with the Vancouver artistic community?

I don’t know, I suppose it’s a coincidence. We were invited by two different festivals, which is seldom happens, but probably comes to show the dynamics of Vancouver in the artistic field. I was personally very impressed by this city. It seems to me that Vancouver does appeal to the European imagination.

What works, perhaps in other disciplines – writing, music – inspire your work?

I am first and foremost a devoted theatregoer; I go to see plays or dance shows alike. I am very aware of what is happening in the world of visual arts and literature. Cinema is not that important to me anymore, except for a few directors, such as Godard, Kiarostami, Apitchapong Weerasathekull or Miguel Gomes. Music does not inspire my work at all.

What is attractive about working with non-dancers? What happens when you combine non-dancers with trained dancers?

Disparity is precisely the topic of this show: How do people of various origins, age and social practices share the same space and create a viable community of people. This is what is at stake in this production.

The Show Must Go On, which you’ll be presenting on 20 January as part of the PuSh Festival, was created in New York before in was staged in Paris and then toured througout the world. Did you feel the need to adapt this particular show to each audience?

No, the show was created for a globalized world. From Taiwan to Rio de Janeiro, from Berlin to Seoul, the public’s experience is almost the same.

Your are often cited as an example of the “anti-spectacle”. What motivates your approach of performative arts ?

I reject that qualification. While I am clearly critical of over-spectacular performances, I am not against a certain form of theatricality in shows. I merely advocate for a theatre that does not necessarily rely on theatricality.