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Controversial

Not strong enough

After my lecture in Ghent I had dinner with (among other people) the artist Jan Fabre, his girlfriend and his personal assistant.
Back in the eighties I auditioned for al role in a play directed by Jan Fabre.
I made it through the first round, but was kicked out in the second round.
Fabre claimed that he could still remember my audition.
Last night I tried to convince Jan Fabre to hire me as an actor, so I could write about the experience.
He said that I was physically not strong enough for his kind of theater.
Then I invited him, his girlfriend and his personal assistant to join me on a road trip from Istanbul to Baghdad.
Jan Fabre said: “No, my work is controversial, perhaps people in Iraq won’t like it. It’s too dangerous for me. I wait for you in a five-star hotel in Istanbul.” His girlfriend and his personal assistant were more than happy to join me.


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I enjoyed your lecture yesterday very much (and your Godson on stage, if I am not mistaken, and hello to you too, Johannes)
Arnon, it would honor me to call you my Godson.
Today I visited an interesting exhibition ‘The game of madness’ at the dr. Guislain museum http://www.museumdrguislain.be/ (if you come again to Ghent, you should visit it, as kind of continuation of your lecture?). There was a sculpture of the fierce Jan Fabre too, again with the green insects. In the library of the museum I suddenly noticed an Arnon Grunberg lookalike who did some research – I was puzzled for a while.
Bye, take care.
Jan Fabel called himself a cultural movement in person,
I am not surprised about the remarks he made...
Why would anyone want to have dinner with him?

I.
I only realize now how little "controversial" you are. It must be terrible for you for sometimes...
I still think that Fabre overestimates the impact of his mentruation blood soaked plays in the Middle East, it's not exactly Avignon where we had to clean the Pope Palace square after him every time he blesses us with his visits.
Theatre
I was never quiet able to imagine your past theatrical attempts. I always get the feeling from your writings that you describe a complicated relationship with the body, which is not per se something negative but as you describe it: problematic and fatalistic. Where you already conscious of this while attempting theatre work? Did you approach it with the absurdism and irony of “Figuranten” or was this constructed a posteriori? How did you get involved in theatre?
Maybe I should audition. I have a body which is strong and useless.