The Agreed Universe

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The agreed universe; the scenography of Jan Fabre through a phenomenological approach Ninke van Herpt Fontys Tilburg MA Choreography December 2005 Ninke van Herpt Fontys Tilburg MA Choreography December 2005 The agreed universe ; the scenography of Jan Fabre through a phenomenological approach Index Introduction: im Kopf Section 1: Jan Fabre, Warrior of Beauty Section 2: The agreed universe, a phenomenological approach Section 3: The arena of tensions, description of the space Conclusio
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  Ninke van HerptFontys TilburgMA ChoreographyDecember 2005 The agreed universe;the scenography of Jan Fabrethrough a phenomenological approachNinke van HerptFontys TilburgMA ChoreographyDecember 2005  Ninke van HerptFontys TilburgMA ChoreographyDecember 2005 The agreed universe ;the scenography of Jan Fabrethrough a phenomenological approachIndexIntroduction: im KopfSection 1: Jan Fabre, Warrior of BeautySection 2: The agreed universe, a phenomenological approachSection 3: The arena of tensions, description of the spaceConclusion: Connecting the dotsReferencesBibliographyAppendix  Ninke van HerptFontys TilburgMA ChoreographyDecember 2005 Introduction: im Kopf This paper will examine the scenography of the choreographies Das Glas im Kopf wird vom Glas /The Dance Sections  (1987)and the opera version Das Glas im Kopf wird vom Glas  (1990) , part of the opera trilogy The Minds of Helena Troubleyn  by JanFabre.Jan Fabre (14-12-1958) is a Belgian artist from Antwerp who has been making both plastic and theatre work since 1976.Fabres artistic education took place at the Decorative Arts Institute  and the Royal Academy of Fine Arts  in Belgium.As an artist Fabre creates objects, drawings, paintings, theatre texts, and Fabre directs and choreographs films, plays, dancesand operas. Fabres career started as a writer of theatre texts and creating performances and has grown to involve multipleart forms.The author’s fascination with Jan Fabre comes from watching his choreography Da’un altra faccia del Tempo  (1993)   inRotterdam in 1993. This performance of Da’un altra faccia del Tempo  (1993) made a lasting impression through the energy,the variety of images, the dynamics and the unforgettable final scene where uncountable white plates came crashing downfrom the skies, shattering on the floor into a blinding white carpet. The scenography of Jan Fabres work and Fabres use of thestage space will be reflected on in this essay.Scenography is defined in Webster’s Revised Unabridged Dictionary (1913) as the art or act of representing a body on aperspective plane; also, a representation or description of a body, in all its dimensions, as it appears to the eye.A point of investigation will be the representation of the bodies, and the perspective planes in which they are presented, in Das Glas im Kopf wird vom Glas /The Dance Sections  (1987) and Das Glas im Kopf wird vom Glas  (1990), to the authors eye. Toaccomplish the investigation a phenomenological approach is chosen to indicate the themes of Das Glas im Kopf wird vom Glas  /The Dance Sections  (1987) and Das Glas im Kopf wird vom Glas  (1990).Jan Fabres scenography deserves a closer look because of the use of bodies in space, of chaos and order on stage and theparticular utilisation of décor and moving bodies in the choreographies.This essay will study the scenography of Das Glas im Kopf wird vom Glas /The Dance Sections  (1987) and the opera version Das Glas im Kopf wird vom Glas  (1990). Das Glas im Kopf wird vom Glas /The Dance Sections  (1987) was an initial study for thefirst opera of the opera trilogy The minds of Helena Troubleyn  , existing of Das Glas im Kopf wird vom Glas  (1990) and Silent Screams, Difficult Dreams  (1992) . The trilogy thus far remains unfinished. For the third opera, allegedly called La Liberta chiama la Liberta  only the preliminary studies exist in the form of the choreographies Da’un altra faccia del tempo  (1993) and Quando la terra si rimetta in movimento  (1995). Das Glas im Kopf wird vom Glas  (1990) reveals Helena’s wish to meet herself as a child. In Das Glas im Kopf wird vom Glas  (1987, 1990) Fressia is introduced, played by Els Deceukelier. Fressia is the manifestation of the child Helena wants toencounter, the suggestion of the world inside the minds of Helena Troubleyn.The two choreographies are chosen in view of the fact that they are different versions of one choreographic study: Das Glas im Kopf wird vom Glas /The Dance Sections  (1987) is an early work for a group of dancers in a deconstructed classical ballet-style.In 1990 Das Glas im Kopf wird vom Glas  was restaged as a full opera. The dance sections were integrated and elaborated inthe Opera version of Das Glas im Kopf wird vom Glas  (1990). Both versions and scenographies will be considered.  Ninke van HerptFontys TilburgMA ChoreographyDecember 2005 Section 1: Jan Fabre, Warrior of Beauty What more can then be said about this oeuvre than what Jan Fabre himself says: “It is wonderful to watch withoutwords. Total simplicity, complete chaos, perfection in one – what an unbelievably beautiful, untameable image”?Laermans (1993:109)Jan Fabre started his career as a performance artist. Fabres money performances in 1979, where money was burned, caused astir in the Belgian art society. Progressively Jan Fabre switched from writing theatre texts and doing performances todirecting plays in which he integrated real time theatre: This is the theatre one should have expected and foreseen  (1982) isan eight hour performance including an investigation on how much a human body can take, for example running on the spotuntil exhaustion comes. Repetition is a major tool in Jan Fabres theatre work. Fabres first choreographic study Das Glas im Kopf wird vom Glas /The Dance Sections  premiered in 1987.In the plastic arts of Jan Fabre three types of work can be distinguished:The first type of work is bronze statues, mostly life size like The man who measures the clouds  (1998) and Searching for Utopia  (2003), often self portraits. The man who measures the clouds  (1998) Photo: Jan Moesen (2004) The second kind appears in the form of bic art (bic is a brand ballpoint pens with a specific color blue ink), pen drawings in blueon different surfaces, for example Ilad of the bic-art  (1980) , famous reproductions of the old masters reworked by Fabre, andthe performance Ilad of the bic-art, the bic-art room  (1981)   in which Fabre locked himself in a room for 72 hours to scribblebic-art on the walls and everything present in the room. Other examples are the walls of Prometheus Landschaft  (1988),costumes and décor of Das Glas im Kopf wird vom Glas  (1987, 1990)   and objects such as boxes and cabinets*Or as Fabre put it himself: It comprises something of a hallucination, thousands and thousands of lines whichmultiply themselves and cross each other. And by the chemical matter of the bic (ballpoint) masses of lines arecreated which attract each other and ricochet as magnets. The apparitions are interwoven in those masses of lines.(...) It is a dream area, a field of expectations”. Laermans (1996: 175) * see appendix dvd ; House, Hour Blue, the Bic-art room  and Forgery  De Boodt & Maes (2002)
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