True freedom in expression

THE OPENING NIGHT performance of Jerome Bel and Theatre Hora’s “Disabled Theatre”, staged as part of the Singapore International Festival of Arts (SIFA), was less than sold out, probably because many potential audience members were worried about the thin line between a freak show and a contemporary art work. Those who showed up and sat in the half-lit auditorium for a little more than 90 minutes knew differently, all of us acutely aware that the empty seats had little to do with what’s wrong with the troupe on stage but rather about what’s wrong with how we think of them.
Actually, a quick online search would already have erased any doubts, as this Zurich-based professional theatre company puts on performances year-round, charges for admission and pays their performers. In other words, even though they may neither look nor sound like most of us, some of them are better actors than many of us.
At the start of the performance, assistant director and interpreter Chris Weinheimer took his seat behind a table downstage where his microphone, notebook computer and sound control board had already been set up. He then informed the audience that the performance was actually a recreation of French choreographer and director Jerome Bel’s first meeting with Theatre Hora’s members.
One by one, the actors stood on stage alone in front of the audience. While Bel’s instruction asked for one minute, theirs varied. Then, also one by one, they introduced themselves, each confirming that he or she is a professional actor. Later, they spoke out their disabilities, one drawing loud applause for his simple statement, “I have Down syndrome. So what?” while another confided that his parents are quite concerned about his autism.
In the subsequent scene, Weinheimer told us, Bel had asked all actors to pick a song and dance to it. Their choices ranged from Michael Jackson to Psy. This was my favourite part of the evening. I wasn’t sure if they were precisely repeating the dance they showed to Bel a few years ago or whether they’d been adjusting and developing it all along. I was especially delighted with their sheer freedom of expression. Of course, they have been watching pop music videos, but they were not merely doing the “cover dance” the way Thai teens do. I was also reminded of how many dance teachers in this region continue to say, “If you can move, you can dance”, when in fact they mean, “If you can move the way I teach you, you can dance”, thus limiting aspiring dancers.
I also found it intriguing that Bel first picked seven of 11 dance numbers to show to us then after listening to comments and reflections from all of them, he subsequently presented the remaining four. Watching them, it became clear why Bel didn’t pick them at first.
With Weinheimer’s instruction that Bel would like all performers to take a bow, the performance ended there, but our unique experience at the theatre, which intellectually and psychologically benefitted both performers and audience members, remained with us for much longer.
It’s not everyone’s cup of tea of course, but that’s contemporary art for you. It’s also probably why SIFA isn’t presenting any classical ballet or opera this year, and likely won’t in the years to come.
Special thanks to Tay Tong for all assistance.
 HEARTS RACING
- The Singapore International Festival of the Arts continues from tonight until Sunday with New York’s Wooster Group adapting Shakespeare’s “Troilus and Cressida” in “Cry, Trojans!”
- Tomorrow and Saturday, “Festival Heart: Into the Wild”, conceived by Michael Elber and Chris Weinheimer, showcases a special performance resulting from the two-week workshop by Theatre Hora with 36 special-needs Singaporeans.
- For more, visit www.SIFA.sg.