In his early pieces, Jérôme Bel applied structuralist operations to dance in order to single out the primary elements from theatrical spectacle. His interest subsequently shifted from dance as a stage practice to the issue of the performer as a particular individual. The series of portraits of dancers broaches dance through the narrative of those who practice it, emphasizes words in a dance spectacle, and stresses the issue of the singularity of the stage. Through his use of biography, Jérôme Bel politicizes his questions, aware as he is of the crisis involving the subject in contemporary society and the forms its representation takes on stage. In offering the stage to non-traditional performers, he shows a preference for the community of differences over the formatted group, and a desire to dance over choreography, and duly applies the methods of a process of emancipation through art. In 2005, Jérôme Bel received a Bessie Award for the performances of The show must go on given in New York. In 2008, with Pichet Klunchun, he won the Routes Princesse Margriet Award for Cultural Diversity (European Cultural Foundation) for the performance Pichet Klunchun and myself. Disabled Theater was chosen in 2013 for the Theatertreffen in Berlin and won the Swiss “present-day dance creation” prize.