BL!NDMAN Akenkaai 2, B-1000 Brussels +32 (0)2 201 59 47
 
 

line-up

jan fabre > concept, direction, texts et choreography
ivana jozic > live performer et choreography
eric sleichim > composition and live performance bariton sax and electronics
william forsythe > film performer

technical coordination: geert van der auwera, jelle moerman
location film: musée d’anatomie (Montpellier, France)
production: troubleyn/jan fabre (Antwerp, Belgium)
co-production: deSingel (Antwerp, Belgium)

with special thanks to: bloet vzw, jan vrints & roger leclercq (camera film), jan decoster (editing film), miet martens (assisitant to jan fabre film), gert wuyts (sound film).

the text of angel of death is published by l’arche editeur, Paris (1996)

BL!NDMAN is supported by the Arts Administration of the Ministry of the Flemish Community and the Flemish Community Commission of the Brussels-Capital Region. BL!NDMAN [sax] play Selmer Paris Saxophones. BL!NDMAN [drums] is supported by Muremo, distributor of Bergerault Percusssion Instruments.

ANGEL OF DEATH

video installation / dance / performance

In 1996, the artist, dramatist, choreographer and writer Jan Fabre wrote a piece inspired by the American artist Andy Warhol. He subtitled it “a monologue for a man, a woman or a hermaphrodite”. Fabre had previously shown an interest in the ideas of this influential, androgynous artist’s artist. In the theatre production Universal Copyrights 1 & 9, for example, where he explicitly raised the subject of copiability and thus questioned the concept of authenticity. In 1997 Warhol appeared in the form of an almost perfect lookalike in Glowing Icons, the third part of Fabre’s trilogy of the body, devoted to the erotic body, the body that possesses an eternal aura and is condemned to immortality as in the case of collective heroes who become icons.

This monologue also deals with this topic, but with the addition of a more intimate examination, by way of the language metaphor. Angel of Death is the encounter between three spirits through the author’s pen. In addition to Warhol there is also the spirit of William Forsythe, to whom this piece is dedicated. Forsythe is the pioneering choreographer of Ballet Frankfurt, and himself an outstanding dancer. Fabre saw a kinship between the two, starting with the physical aspect.

Lastly there are Fabre’s personal fascinations, such as transformation, the beauty of gender (and therefore of the hermaphroditic too), and double identity, and the contradiction of being an artist, balancing between publicness, fame and the longing for anonymity and seclusion. This provides the substance for a meeting of three “spirits”. Layer by layer, the elusive “I person’ takes shape through the interweaving of observation, identification, the quotation of famous statements by “Drella” and interpretations of Warhol’s, Fabre’s and Forsythe’s own lives. The I-figure goes back and forth between the meaning, which reaches out a hand to an audience, and withdrawal into ambiguities and questions. It seems as if he is in a post mortem state, in a time vacuum, both living and dead, where he reveals and conceals himself and reassembles his identity. In the end comes the wish to dance and forget oneself. The enigma maintains itself…

In the way the piece is staged, Jan Fabre foresees a new confrontation with the text in the form of a live, animated video installation. It consists of four monumental video walls set up symmetrically in a square. Inside the square, seating is set up on all sides that runs down to a small stage on which the Croation dancer Ivana Jozic, enters into dialogue with what she sees on the screens, which is a film of William Forsythe dancing and reciting the text of Angel of Death in the anatomical museum in Montpellier. These images communicate with each other between individual screens: they dissolve and show various camera angles or points of view. The second interaction will arise by the intervention of the performer in the middle, who will respond to the video sequence in language and gesture. A new composition by the composer and saxophonist Eric Sleichim will, with a musical addition, give extra significance to the whole. This set-up is a new experiment in Jan Fabre’s work for the stage.


ANGEL OF DEATH played among others on the following locations:

2008
BRUSSEL / BRUXELLES - brigittines
2007
ANTWERPEN / ANVERS - troubleyn theater
2006
STOCKHOLM (SE)
ISTANBUL (TR)
ZAGREB (HR)
2005
BRUSSEL / BRUXELLES - Bozar
TRENTO (IT)
BOLZANO (IT)
RIO DE JANEIRO (BRA)- cena contemporanea
SARAJEVO (BHZ)
2004
WIEN (A) - Tanzkwartier
AVIGNON (F) Festival d'Avignon
2003
AVIGNON (F) - Festival d'avignon
PONTADERA (I)
ANTWERPEN / ANVERS - deSingel
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BL!NDMAN       contact info

Sainctelettesquare 18-19
B-1000 Brussels, Belgium
+32 2 201 59 47

contact:

general and artistic direction:
management:   M +32 485 30 98 01
technical coordination & sound engineer:   M +32 485 53 68 16
production manager:   M +32 498 54 96 81

BL!NDMAN is supported by the Arts Administration of the Ministry of the Flemish Community and the Flemish Community Commission of the Brussels-Capital Region. BL!NDMAN [sax] play Selmer Paris Saxophones. BL!NDMAN [drums] is supported by Muremo, distributor of Bergerault Percusssion Instruments.