Σαλόνι ή salo;
Θυμήθηκα την ταινία, διαβάζοντας αυτό. Είναι απόσπασμα του κειμένου.
https://www.rektoverso.be/artikel/open- ... njan-fabreOne performer who worked with Fabre fifteen years ago states: “Already then it came down to the proposition: ‘No sex, no solo’. When I told people in my environment about my experience, they just shrugged their shoulders as if it was part of the job.”
Our collected experiences and testimonies are often so consistent with one another that Fabre’s behaviour shows clear patterns. For example, testimonies from eight different performers reveal that Fabre has an ongoing, semi-secret photography practice. For these so-called side projects, he frequently invites performers to his home under the premise of making visual art, and then turns the situation into an opportunity where he can approach the performer sexually.
One performer describes such a situation: “After at least one year in the company, Fabre asked me to do a project on the side that was paid under the table, and which I was told not to mention to anyone. This project was to be photographed by him in a situation that I still feel ashamed of talking about today. In this very uncomfortable, supposed working situation, I was offered alcohol and later drugs to feel more free (this is the only time in my life that I have taken drugs). This then led to Fabre asking me for more.”
These semi-secret photography projects and the exchange of sex for advancement have become a hidden currency in the company – granting the performer access to solos and/or future job opportunities based on their response to Fabre’s advances. When performers have rejected these advances and tried to maintain a respectful, professional relationship, their decisions were met with various degrees of subtle and less subtle forms of punishment, including stalking, verbal humiliation, aggression and manipulation.
Sometimes, performers are offered large sums of money – ostensibly as a fee for their participation in these private photoshoots. This itself is provocative if we take into account the low official wage of Troubleyn and the lack of payment for many interns.
One performer gives this description: “After the photo shoot and after having rejected his approaches, I felt horrible and I was upset. Fabre didn’t understand it and he told me I should not make a big deal out of it. I wanted to give him back the money, but he refused. He told me he made a lot more money selling these pictures, so that money was my share. He asked me if the reason I wanted to give the money back was because I felt like ‘a whore’."
"A week later, he invited me for a fancy dinner and offered me a solo. In the following weeks, at odd times, Fabre kept on calling me, ordering me to buy sexy underwear and high heels for further photo shoots. I refused, but I felt I paid a price for it. Difficult episodes followed."
"During rehearsals he would cut down my role and I would lose my parts to another dancer. I cannot be sure that this had anything to do with the photo shoot, but something shifted in his behaviour after. Once I didn’t follow his directions fast enough so he came to the stage, yelling with his fist in the air as if he was about to hit me. He said: ‘If it wasn’t the premiere, I would have taken you off my stage’. He continued to offer me photo shoots, which I always refused, and kept on mentioning the solo.”
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