The art of space

The stage is a space. It can be defined as the rectangular plane of the stage-platform and the equivalent volume of air. This space is the only medium where one cannot escape the laws of general mechanics. This particularity is important to me. Both bodies and objects are inescapably subjected to gravity. My proposition is to summon the means of the body, as well as the means of the stage, whatever they may be, to contemplate this fact. Bodies and objects both are relevant regarding gravity. The relationship between the individual and space, every single element of this relation, is what I am interested in studying on stage.

Our theater apprehends the stage as a physical space, where physical actions are formulated.  Etymologically, the actor is performing the action. A play is a serie of actions. At the circus, the extraordinary is foretold. It's not so at the theater ; it shows up by surprise. At the circus the extraordinary-being is invoked, whereas at the theater, we come and see our fellowman.  The stage is a world. The actor dwells there, in this space, and the issue is to question the place of man in the world. My starting point is the interaction between these two elements: the scenic space as a world, and the actors as the ordinary men.

The issue of space raises the question of limits. The limit is the unknown. It sharpens our craving for discovery. It embodies the place of creation. Our theater is at the junction of different arts : the circus, dance, visual arts, music... but our concern to renew the form and the thrill to remain unlabelled are more important than belonging to a definite field. I'd rather the form emerged at the edge of things.

My work originates from different contexts. My every collaboration can be contemplated as a crossbreeding between different, converging fields. Each creation can be inscribed at the crossroad with another definite context : belonging to an artist's, or to a place, to a practice, or a particular domain...  In each case, my process remains the same : we need to push things around to the fringe, at the place of wonderings.

Aurélien Bory, September 2010       

Key dates

2000 Fondation of Compagnie 111 with Olivier Alenda, and creation of IJK 2003 Creation of Plan B in collaboration with Phil Soltanoff  2003 Directs Erection by and with Pierre Rigal 2004 Creation of Taoub with Groupe Acrobatique de Tanger 2005 Creation of Plus ou moins l'infini in collaboration with Phil Soltanoff  2006 Directs Arrêts de jeu by Pierre Rigal 2007 Creation of Les Sept Planches de la ruse with the artists from Dalian 2008 Creation of Questcequetudeviens? for Stéphanie Fuster 2009 Creation of Sans objet, a piece for a robot and two actors.