YPAM

In his early pieces (name given by the author, Jérôme Bel, Shirtology...), Jérôme Bel 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, Dances for Wu-Kang Chen, Jérôme Bel...) have been created, produced and toured. Non human dances (2023), conceived with the art historian Estelle Zhong Mengual, analyses the relationship between the history of Western dance and the non-human in order to enrich our understanding of it.

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. Many of them are in the collections of the Musée National d'Art Moderne – Centre Pompidou and of FRAC Normandie. 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.

Takao Kawaguchi joined the performance group Dumb Type in 1996. He began his solo work in 2000 pursuing the broad possibilities of performance across theater, dance, film, and visual art. In recent years, he has drawn on butoh in works such as About Kazuo Ohno (2013) which has toured to more than 40 cities in Japan and abroad. In Touch of the Other (2015) and Rosentanz: Critique of Pure Sexualization (2022), he addressed themes of gender and sexuality. In 2021, he served as Artistic Director of “Tokyo Real Underground” and as co-organizer of the performance event “INOUTSIDE,” and in the same year received the Minister of Education, Culture, Sports, Science and Technology's Art Encouragement Prize.