Jan Fabre

Attends, attends, attends… (pour mon père)

Dance

Spectacle dans le cadre du festival Le MOI de la danse.

Solo for Cédric Charron

In Attends, attends, attends… (pour mon père), the son has an imaginary conversation with his father in which he asks his father to wait, to have patience. He asks his father to open up to his son’s time. He asks his father to retreat into his son, to become a child again and prepare for death.
The son is revealed as Charon, the ferryman who prepares the father for the final crossing. He knows death like no other. Like the artist he has become, he is a specialist in the act of dying. Every night, he again allows death and birth to come.
Every night, he again crosses the Styx. He is, after all, the accomplice of the spiritual. He awakens the ghosts and sends them back to their paradise and to the hell where they were born. He knows his role well, he has played it so many times.

Father, will you join me?

To create this solo, Jan Fabre drew on the life of Cédric Charron, a dancer with whom he has worked closely since As Long As the World Needs a Warrior’s Soul (2000).

 

Text, direction, choregraphy : Jan Fabre
Performance : Cédric Charron
Music : Tom Tiest
Dramaturgy : Miet Martens
Lighting : Jan Fabre, Geert Van der Auwera
Costum : Jan Fabre, Andrea Kränzlin
Traduction in french : Michèle Deghilage
Production : Troubleyn / Jan Fabre
co-production Festival Montpellier Danse – Première : 3 avril 2014, deSingel, Anvers (BE)

Grand witness: Jan Fabre
Meeting hosted by Barbara de Coninck
Sunday, February 3 at 19h
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Jan Fabre (born in Antwerp in 1958) is known in Belgium and elsewhere as one of the most avant-garde and versatile artists of his generation. For 30 years he has distinguished himself as a performer, author, and visual artist. He always pushes the boundaries of whatever genre he’s working in. Theater for him is a holistic work of art in which the spoken word plays a carefully considered functional role alongside dance, music, singing, performance art, and improvisation. Fabre’s restraint with regard to the “text” medium leads him to take a different approach to theater. This has been confirmed by the increasingly numerous directors who have staged Fabre’s texts in recent years: his texts cannot be boiled down into traditional theater.