Jan fabre mount olympus full
Mount Olympus: To Glorify The Cult Of Tragedy by Jan FabreWe know remarkably little about Greek tragedy -- about what it all meant, the tearing apart, the obscenity, the purification. This essentially unknown, unimaginable quality forms the inspiration for Mount Olympus.
Mount Olympus is not a modernization of Greek tragedy. It is an investigation of the impossibility of representing that which tears us apart and purifies us again.
Luk Van den Dries
So when Professor Woolf told everyone that the director, Jan Fabre, had been accused of sexual harassment by his former company members, the class fell uncomfortably quiet. Six members of the company have resigned in the past two years citing complaints of sexual harassment. Skirball informed Fabre that he was not invited to attend the performance, but that they would not cancel the show as to not punish the cast and crew members. I decided to go anyway. Watching the first act was like watching an unrated music video in real time. Within minutes, actors were on their knees performing oral sex on each other.
It has now moved on to Amsterdam and will emerge again in the autumn, in Rome, and then yet again in the winter in Antwerp. Buenos Aires has also taken a place in line. This large-scale zooming-in on the cultural roots of Western civilization, this performance by 27 people that continues for 24 hours without stopping and in which individual performers leave the stage for only a few moments, this complete shattering of normal human physical and psychological limits requires so many resources and such stamina that no one is willing to perform it any more often. At the same time, the response of the audience is overwhelming the first performance in Berlin closed to a standing ovation that lasted for half an hour. This may be nothing compared to the 24 hours of intense labor that the performers just put in, but it's still pretty impressive. He contends that he is the first to combine the conditionality of theater with the authenticity of performance art. Back then they were a novelty, and the avant-garde director Jan Fabre was seen as something of a new guru in the art of European theater.
Mount Olympus. To glorify the cult of tragedy, a 24 hour performance is one huge slab of history dipped in a sea of time. Its breeding grounds are the hubris, blindness and cravings of man. Over and over, man stumbles over divine commandments, falls, and drags along generations of time. Simultaneously distant and nearby, we recognize outlines of stories and characters taken from Greek tragedy.
A hallucinatory vision of Homeric themes and characters, it presented a Dionysian orgy of madness, murder, incest, feminism, music rave and arias and extreme sports skipping, dancing, fighting, loving. It started at 10am and the audience were on their feet for the duration: we were sustained by beer and sausage breaks. The sheer music-hall madness of that trip through the hippie underworld made it like an acid Archers. But at four and a half hours, that was durational theatre for wimps. A huge screen in the bar area relayed the entire performance as streamed live on national television, punctuated with interviews with critics and artists. About 13 hours into the show, I sat in the auditorium and watched the actors sleeping.