Jérôme Bel pp 225-269 | Cite as

Subjects at Risk

  • Gerald SiegmundEmail author
Part of the New World Choreographies book series (NWC)


“Subjects at Risk” finally, deals with dancers and performers taking risks with their own skills, thereby risking the form of the pieces in which they perform. From 2010 onwards, pieces such as 3Abschied, Cour d’honneur, Disabled Theater, and Tombe ask dancers to sing, actors to dance, and spectators to perform, thereby exposing them to the risk of failure. Making dance risky again is argued to be a political strategy under contemporary conditions of dance production and reception. In the process of engaging with the unknown, performers unleash a transformative power that carries them away as subjects. With Christoph Menke this force is considered to be a human force equal to all before learning, capacities, and skills establish individual differences that build identities.


Disabled Theater Abschied Dance Production Theater HORA Keersmaeker 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. Baecker, Dirk. 2007. Studien zur nächsten Gesellschaft. Frankfurt a. M: Suhrkamp.Google Scholar
  2. Barthes, Roland. 1993. Avignon, l’hiver. In Oeuvres Completes, Tome I, 1942–1965, ed. Éric Marty, 393–395. Paris: Éditions du Seuil.Google Scholar
  3. Bel, Jérôme and Marcel Bugiel. 2012. Interview About Disabled Theater. Accessed 24 Feb 2017.
  4. Bel, Jérôme, and Theater HORA. 2012. Disabled Theatre, Recording and ed. Walter Bickmann. Berlin: HAU1.Google Scholar
  5. Bel, Jérôme. 2013. Cour d’honneur. Directed by Don Kent. France television.  Google Scholar
  6. Bel, Jérôme, and Boris Charmatz. 2013. Emails 2009–2010. Dijon: Les presses du réel.Google Scholar
  7. Bel, Jérôme, and Marcel Bugiel. 2014. Auftreten und leuchten. Theater und Behinderung—eine Spurensuche zwischen Integration und künstlerischer Autonomie. Theater der Zeit 4: 12–15.Google Scholar
  8. Blanchot, Maurice. 1988. The Unavowable Community, trans. Pierre Joris. Barrytown, NY: Station Hill Press.Google Scholar
  9. Bugiel, Marcel, and Michael Elber (eds.). 2014. Theater HORA. Berlin: Theater der Zeit.Google Scholar
  10. Burt, Ramsay. 2017. Ungoverning Dance: Contemporary European Theatre Dance and the Commons. New York: Oxford University Press.Google Scholar
  11. Dederich, Markus. 2007. Körper, Kultur und Behinderung: Eine Einführung in die Disability Studies. Bielefeld: Transcript Verlag.CrossRefGoogle Scholar
  12. Derrida, Jacques. 1988. Signature Event Context. In Limited Inc, 1–23. Evanston, IL: Northwestern University Press.Google Scholar
  13. Evans, Dylan. 1996. An Introductory Dictionary of Lacanian Psychoanalysis. New York: Routledge.Google Scholar
  14. Gaité, Florian. 2016. Tombe. Accessed 25 Nov 2016.
  15. Hilton, Leon. 2014. Presence, Rhetoric, Difference: Jérôme Bel and Theater HORA’s Disabled Theater. TDR: The Drama Review 58 (3): 156–162.Google Scholar
  16. Iser, Wolfgang. 1993. The Fictive and the Imaginary: Charting Literary Anthropology. Baltimore: John Hopkins University Press.Google Scholar
  17. Lehmann, Hans-Thies. 2006. Postdramatic Theatre, trans. Karen Jürs-Munby. Abingdon: Routledge.Google Scholar
  18. Menke, Christoph. 2011. Aesthetics of Equality/Ästhetik der Gleichheit, dOCUMENTA 13, 10, Notes—100 Thoughts No.10. Ostfildern: Hatje Cantz.Google Scholar
  19. Menke, Christoph. 2013a. Die Kraft der Kunst. Berlin: Suhrkamp.Google Scholar
  20. Menke, Christoph. 2013b. Force. A Fundamental Concept of Aesthetic Anthropology, trans. Gerrit Jackson. New York: Fordham University Press.Google Scholar
  21. Osborne, Peter. 2013. Anywhere or Not at All: Philosophy of Contemporary Art. London: Verso.Google Scholar
  22. Phelan, Peggy. 1993. Unmarked. The Politics of Performance. London: Routledge.CrossRefGoogle Scholar
  23. Rifkin, Jeremy. 2001. The Culture of Access: The New Culture of Hypercapitalism. New York: Jeremy P. Tarcher and Putnam.Google Scholar
  24. Rivière, Jean-Loup. 2001. Roland Barthes Schriften zum Theater. In Ich habe das Theater immer sehr geleibt, und dennoch gehe ich fast nie mehr hin, ed. Roland Barthes, 7–18. Berlin: Alexander Verlag.Google Scholar
  25. Rosas, and Jérôme Bel. 2010. 3Abschied. Recording and ed. Olivia Rochette and Gerard-Jan Claes. Paris: Théâtre de la Ville and Festival d’Automne.Google Scholar
  26. Scheie, Timothy. 2006. Performance Degree Zero: Roland Barthes and Theatre. Toronto: Toronto University Press.Google Scholar
  27. Siegmund, Gerald. 2016. Mobilization, Force, and the Politics of Transformation. DRJ: Dance Research Journal 48 (3): 27–32.Google Scholar
  28. Siegmund, Gerald. 2017. Rehearsing In-Difference. The Politics of Aesthetics in the Perforamnces of Pina Bausch and Jérôme Bel. In The Oxford Handbook of Dance and Politics, eds. Rebekah Kowal, Gerald Siegmund, and Randy Martin, 181–198. New York: Oxford University Press.Google Scholar
  29. Todorov, Tzvetan. 1981. Les catégories du récit littéraire. Comunications 8: 131–158.Google Scholar
  30. Umathum, Sandra. 2015. …Actors, Nonetheless. Disabled Theater, ed. Sandara Umathum and Benjamin Wihstutz, 99–112. Berlin: Diaphanes Verlag.Google Scholar
  31. Umathum, Sandra, and Benjamin Wihstutz. (eds.). 2015. Disabled Theater. Berlin: Diaphanes Verlag.Google Scholar
  32. Virno, Paolo. 2004. A Grammar of the Multitude. Cambridge, MA: MIT Press.Google Scholar
  33. Wallin. Scott. 2015. Come Together: Discomfort and Longing in Jérôme Bel’s “Disabled Theater”. In Disabled Theater, eds. Sandara Umathum and Benjamin Wihstutz, 61–80. Berlin: Diaphanes Verlag.Google Scholar
  34. Wihstutz, Benjamin. 2015. “…And I am an Actor”. On Emancipation in “Disabled Theater”. In Disabled Theater, eds. Sandara Umathum and Benjamin Wihstutz, 35–50. Berlin: Diaphanes Verlag.Google Scholar
  35. Žižek, Slavoj. 1997. The Plague of Phantasies. London: Verso.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.Justus-Liebig UniversityGiessenGermany

Personalised recommendations