Mount Olympus can be seen as a synthesis of Fabre’s impressive career as an artist. What does Fabre himself actually understand by ‘something new’? The aura of a heroic social resistance hangs around his ubiquitously hyped, superlative-laden ‘masterpiece’, while the performance merely reproduces the dominant ideology of our time in a heightened form. This dance move became world famous thanks to superstar Miley Cyrus who, in the world of mainstream pop culture, enjoys the dubious status of having pushed back even further the limits of the pornification of the human body. A quarter of an hour earlier the audience in the Bourla Theatre in Antwerp had stood up en masse already to cheer on Jan Fabre’s ‘warriors of beauty’ who, covered in colourful layers of paint and glitter, were rhythmically shaking their backsides up and down in the direction of the audience. And imagine something new.’ After sitting for a gruelling 24 hours you, at last, hear the closing words of Mount Olympus. On Mount Olympus (Jan Fabre/Troubleyn): To glorify the cult of tragedy
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