{"id":7200,"date":"2012-12-29T02:12:00","date_gmt":"2012-12-29T02:12:00","guid":{"rendered":"http:\/\/a-desk.org\/2012\/12\/29\/nota-sobre-disabled-theater1675\/"},"modified":"2012-12-29T02:12:00","modified_gmt":"2012-12-29T02:12:00","slug":"nota-sobre-disabled-theater1675","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/nota-sobre-disabled-theater1675\/","title":{"rendered":"Nota sobre Disabled Theater"},"content":{"rendered":"

En el prec\u00eds instant en el que comen\u00e7o aquesta nota sobre Disabled Theater<\/em>, del core\u00f2graf J\u00e9r\u00f4me Bel, comen\u00e7a el cl\u00e0ssic “el millor del” 2012, on tot apunta que aquesta pe\u00e7a presentada a la passada dOCUMENTA(13) t\u00e9 totes les butlletes de ser una de les m\u00e9s incloses. S\u00ed, em refereixo a les llistes de les obres d’art i les exposicions m\u00e9s destacades, on la inclusi\u00f3 de Bel certificaria “el gir performatiu” que s\u2019est\u00e0 donant d’un temps en\u00e7\u00e0 a la instituci\u00f3-art o, el que \u00e9s el mateix, la museificaci\u00f3 de l’ “escena”. L’interessant de la pe\u00e7a de Bel es troba en qu\u00e8 l’obra mateixa va dirigida a aquesta dif\u00edcil frontera que separa les emocions i els afectes. Encara que a primera vista poguessin semblar el mateix, la seva distinci\u00f3 radicaria en qu\u00e8 les emocions pertanyen a categories filos\u00f2fiques que van des Arist\u00f2til als actuals departaments de psicologia (admiraci\u00f3, por, ansietat, odi, valentia i altres), mentre que els afectes pertanyen m\u00e9s l’\u00e0mbit de les passions motivadores que arrosseguen la gent a cert tipus d’irracionalitat. Des del meu punt de vista, Disabled Theather<\/em> (amb la posada en escena del Theater HORA, una companyia professional su\u00efssa d’actors amb diferents discapacitats), busca subvertir i revolucionar dues categories, ja que no nom\u00e9s aconsegueix atribuir emocions a l’acte de pensar, sin\u00f3 que posiciona els afectes no \u00fanicament en funci\u00f3 de sentiments corporals. El que passa per la ment de l’espectador a Disabled Theater <\/em> resulta molt complex, psicol\u00f2gicament parlant, i \u00f2bviament n’hi ha que s’abandonen a l’emoci\u00f3 i als afectes que generen els actors en escena des de l’instant zero, i els hi ha tamb\u00e9 qui, com jo , no poden deixar de pensar en el propi dispositiu manipulador posat en marxa. Passa que un acaba per cedir, i la comprovaci\u00f3 de la commoci\u00f3, \u00e9s a dir, la prova de la capacitat per impactar i dissoldre els dispositius o aparells cr\u00edtics i de distanciament amb els quals ens prove\u00efm, resulta la millor de les garanties que alguna cosa forta i veritable est\u00e0 passant en escena, o a l’interior d’un mateix. Quelcom que desborda els canals d’autocontenci\u00f3. Quelcom que aconsegueix desarborar la cr\u00edtica, o almenys suspendre-la per un instant.<\/p>\n

En aquest sentit, Disabled Theater<\/em> funciona com un dispositiu herm\u00e8tic, un m\u00e8tode brechti\u00e0 de distanciament que a la llarga (segons transcorre la pe\u00e7a) s’erigeix en el seu propi potenciador. J\u00e9r\u00f4me Bel no inventa res de nou aqu\u00ed, sin\u00f3 que senzillament executa el gui\u00f3 ja posat en marxa a la que \u00e9s la seva obra m\u00e9s emblem\u00e0tica fins al moment: The Show Must Go On<\/em>.<\/p>\n

Que un dispositiu de distanciament sigui aplicat a un grup de discapacitats ps\u00edquics \u00fanicament pot generar pol\u00e8mica, o si es vol, interpretacions al l\u00edmit. Res de terme mig. Aix\u00ed, el mecanisme “manipulador” de Bel (respecte l’espectador) contrasta amb un sentiment sincer i veritable del core\u00f2graf vers el grup d’actors, i ell mateix ha reconegut en el curs d’alguna entrevista que quan va veure per primera vegada en acci\u00f3 al grup Theater HORA, el sentiment va ser tan fort que va necessitar fer un exercici en el seu interior per localitzar el seu origen i naturalesa. No estaria de m\u00e9s alinear Bel, d’aquesta manera, amb aquest altre gran manipulador que \u00e9s el cineasta Lars von Trier. Ambd\u00f3s utilitzen recursos de Brecht al llarg de les seves traject\u00f2ries. A Disabled Theater<\/em> la figura del mediador sembla ser central. Aquesta figura (un noi de mitjana edat quan el vaig veure) \u00e9s l’encarregada d’introduir els actors i al propi J\u00e9r\u00f4me, en tercera persona (tret brechti\u00e0 par excellence<\/em>). Aquest mediador, o figura que va introduint la pe\u00e7a, es presenta com alg\u00fa neutral, que amb la seva actitud zen i la seva pr\u00f2pia posici\u00f3 corporal i f\u00edsica en escena, canalitza tot el que a continuaci\u00f3 vindr\u00e0. No s\u00e9 si aquesta pe\u00e7a mereix estar entre el millor de l’any (en quelcom tan contingent i gratu\u00eft), en art contemporani o en “coreografia expandida” (Marten Spangberg dixit), l’\u00fanic que s\u00e9 \u00e9s que val la pena prestar atenci\u00f3 als mecanismes subjectius que produeixen afecte o desafecte, aix\u00ed com emocions de tot tipus, en una era caracteritzada per un capitalisme d’ansietat que ens colpeja de manera individual i col\u00b7lectiva.<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

En el prec\u00eds instant en el que comen\u00e7o aquesta nota sobre Disabled Theater, del core\u00f2graf J\u00e9r\u00f4me Bel, comen\u00e7a el cl\u00e0ssic “el millor del” 2012, on tot apunta que aquesta pe\u00e7a…<\/p>\n","protected":false},"author":1261,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\nNota sobre Disabled Theater – A*Desk<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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