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Jan Fabre is a Belgian artist who is fond of  dismantling the traditional representational codes of theater. His theater work  can be ‘labeled’ as post-representative throughout; it moves beyond traditional  representation and Aristotelian dramatic aesthetics. Gilles Deleuze’s aesthetics  of intensities provides an alternative theoretical framework to analyze Fabre’s   As Long as the World Needs a Warrior’s Soul  (2000). Since performances  like these move away from a cognitively based methodology, traditional semiotics  are inadequate to get a grip on them. Deleuze’s theoretical framework proves to  be fruitful, for it provides terminological tools such as the  Body-without-Organs, rhizomatic bodyscapes, etc. Together with Foucault’s  discourse theory this terminology gives insight into the biopolitics that are at  stake in Fabre’s  Warrior’s . In a most fascinating way, the performance  foregrounds the regulating processes of sexual discourses and their suffocating  effect on disciplined and normalized bodies – bodies that are molded and fixed  to ‘fit’ into a class, a genus, or a species.

The Reconfigurative Power of Desire. Jan Fabre’s As Long as the World Needs a Warrior’s Soul