But there is ambiguity here too: its fruits were once used as a contraceptive. Fabre sees the whole piece as a ritualistic preparation for the highest leap, which takes us back to the matriarchy.
The strength of this solo lies in its constant shifts: from man to woman, from human to animal, from straight line to circle, from rolling, sliding movements to rising slowly upright, like a tree that grows more and more branches, like a swan that has fertilised itself.
The olive tree as Mother Earth, old and indestructible, a balm to the world.This was confirmed two years later with "De macht der theaterlijke dwaasheden" (The Power of Theatrical Madness) commissioned for the Venice Biennale.Since then, Jan Fabre has grown to become one of the most versatile artists on the international stage.She started practising classical ballet at the age of 6 and studied at the 'Stedelijk Instituut voor Ballet' (Antwerp), combining high school with a professional dance education. Apart from establishing her own choreographies with Voetvolk, Lisbeth Gruwez has danced in Arco Renz' i!2, together with Melanie Lane, and she also played the leading role in Lost Persons Area, Caroline Strubbe's first feature film.