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Sandra Umathum: Actors, nontheless
Actors, nontheless
(p. 99 – 112)

Sandra Umathum

Actors, nontheless

PDF, 14 pages

In contrast to the frequent accusations that Jérôme Bel had made the eleven members of theater HORA look like amateurs and exposed them to ridicule instead of bringing their acting potentials to fruition, this essay proposes a different perspective. With respect to the tendency to interpret the successes of people with disabilities as triumphs achieved in defiance of, or in compensation for, physical or cognitive differences, it argues that one of the strengths of Disabled Theater is its absence, interruption and negation of these commonplace assumptions – and deals with the questions and potentials Bel brings to the fore by holding back from subjecting the actor’s performances to the regime of mastery and sophistication.

  • performing arts
  • identity
  • theatre studies
  • disability studies
  • Jérôme Bel
  • theatre / drama
  • body
  • performance
  • aesthetics

My language
English

Selected content
English, French

Sandra Umathum

is Professor for Theater/Performance Studies and Dramaturgy at the “Ernst Busch” Academy of Dramatic Art (department for theatre directing). Main research areas: relations between theater und the visual arts since the 1950s, theory und praxis of contemporary theatre and performance art, politic dimensions of aesthetics, contemporary forms of dramaturgy.

Other texts by Sandra Umathum for DIAPHANES
Sandra Umathum (ed.), Benjamin Wihstutz (ed.): Disabled Theater

Sandra Umathum (ed.), Benjamin Wihstutz (ed.)

Disabled Theater

Translated by Christoph Nöthlings

Softcover, 248 pages

Out of Stock

PDF, 248 pages

Jérôme Bel’s Disabled Theater, a dance piece featuring eleven actors with cognitive disabilities from Zurich's Theater HORA, has polarized audiences worldwide. Some have celebrated the performance as an outstanding exploration of presence and representation; others have criticized it as a contemporary freak show. This impassioned reception provokes important questions about the role of people with cognitive disabilities within theater and dance—and within society writ large. Using Disabled Theater as the basis for a broad, interdisciplinary discussion of performance and disability, this volume explores the intersections of politics and aesthetics, inclusion and exclusion, and identity and empowerment. Can the stage serve as a place of emancipation for people with disabilities? To what extent are performers with disabilities able to challenge and subvert the rules of society? What would a performance look like without an ideology of ability?