Photo © Aglaé Bory
Created in October 2011 at Le Grand T, Nantes
With Mathieu Bleton, Raphaëlle Boitel, Olivier Boyer, Pierre Cartonnet, Claire Cordelette (change of cast instead of Marlène Rostaing), Sarah Cosset, Cécile Fradet (change of cast instead of Yu Yingchun), Nicolas Lourdelle
Conception, scenography and direction Aurélien Bory
Artistic collaborations Pierre Rigal, Albena Dimitrova, Olivier Alenda
Original music Alain Kremski
Additional music Joël Abriac
Lighting design Arno Veyrat
Director's assistant Sylvie Marcucci
Technical managers Joël Abriac, Tristan Baudoin, François Saintemarie, Arno Veyrat
Sound engineer Stéphane Ley
Recording studio Charles Eddi
Technical direction Arno Veyrat
Set design and construction Pierre Dequivre and Atelier La Fiancée du pirate - Toulouse
Costume design Sylvie Marcucci
Production, administration and booking Florence Meurisse, Christelle Lordonné, Marie Reculon
Press Dorothée Duplan, Agence Plan Bey
Production Compagnie 111- Aurélien Bory
Coproduction Le Grand T - Scène conventionnée Loire-Atlantique /Nantes, TNT - Théâtre National de Toulouse Midi-Pyrénées, Parc de La Villette/Paris , CIRCa Auch Gers Midi Pyrénées, Cirque-théâtre d'Elbeuf - Centre des arts du cirque de Haute Normandie, Théâtre Firmin Gémier La Piscine – Pôle national des arts du cirque/Antony, Bonlieu - Scène nationale/Annecy, Le Volcan - Scène nationale/Le Havre, Le Parvis - Scène nationale de Tarbes Pyrénées, Théâtre de Caen.
Residencies Théâtre Garonne/Toulouse, L'Usine - lieu conventionné Arts de la rue/Tournefeuille, Le Grand T - scène conventionnée Loire Atlantique/Nantes
Compagnie 111 – Aurélien Bory benefits from the support from Ministère de la Culture et de la Communication - Direction Régionale Affaires Culturelles Midi Pyrénées, Ministère de la Culture et de la Communication - Direction Générale de la Création Artistique, Région Midi-Pyrénées, Conseil Général de la Haute-Garonne, Ville de Toulouse
Compagnie 111 - Aurélien Bory benefits from the support from Fondation BNP Paribas pour le développement de ses projets.
Compagnie 111 - Aurélien Bory is associate artist of Le Grand T, Scène conventionnée Loire-Atlantique/Nantes.
NANTES Creation Le Grand T October 11th > 16th 2011
AUCH Festival CIRCa October 24th > 28th
LE HAVRE Le Volcan - Scène nationale November 9th > 12th
ANTONY Théâtre Firmin Gémier La Piscine December 1st > 11th
ELBEUF Cirque-Théâtre April 13th > 15th 2012
TARBES Le Parvis - Scène nationale April 26th > 27th
TOULOUSE Port Viguerie/TNT - Théâtre Garonne - Ville de Toulouse May 9th > 15th
ANNECY Bonlieu - Scène nationale May 22nd > 26th
CAEN Théâtre de Caen June 12th > 15th
PARIS Parc de la Villette October 3rd > 28th
LAUSANNE Théâtre Vidy September 7th > 15th 2013
GÉOMÉTRIE DE CAOUTCHOUC
In Géométrie de caoutchouc -Rubber-Sheet Geometry- , the marquee is a cave, a mountain, a sea, a sky. We roam around these manifold spaces, thus exploring our relationship to the world, from the heavens to the underground. This rubbery space is unsteady ; the couples, women and men are subject to its alterations, its turmoils. These bodies and the marquee... what are they telling us ? Space designs us, space is stronger than us. We can run around the zeniths, wander through the stars, reach as far as space will allow us, yet we shall disappear. Space sustains us, and eventually space engulfs us.
Humanity is confined within this timeframe.
AURÉLIEN BORY'S INTERVIEW
Extracts from Aurelien Bory's interview with Manuel Piolat Soleymat in April 2011
Each of your creations emerges from a reflection about space. What kind of scenic explorations is Géométrie de caoutchouc based upon?
The starting point is the marquee itself. I wanted to contemplate it literally, conducting a kind of study of this specific space. I thought the marquee belonged on centre stage, that is why I conceived the set with a marquee as scenery, an exact scale-model replica of the marquee accommodating the show.
You consider theatre mainly as an art of space...
Yes. In my work everything can be regarded as a variation on space. This also applies to my dramaturgy. Now with Géométrie de caoutchouc, I continue the journey already followed by my previous creations : using what I call the « existent » as the inception. Here, the « existent » is the marquee. This space cannot be reduced to its connoted stereotypes, it harbours more valuable meanings and history than are usually infered. For example do you know that the word « scene » (stage in French) comes from the ancient greek « skene », meaning « tent » ? Theatre is deeply rooted in the pitching of a tent.
A representation encased within its duplicate and thus exploring the modular concept of Russian dolls.
The idea is to represent a container enclosed within another, a frame within the frame stressing the notion of emptiness. In the concept of space, the idea of emptiness is systematically a central theme. I have often thought that art may be a particular process creating this emptiness, a void, in order to allow the spectator to fill this void with their imagination.
What is structuring the scenes in Géométrie de caoutchouc ?
The continuous transformations undergone by the scale-model marquee, set into motion by the eight artists. They tackle this rubbery space, come to grips with its malleability. They follow its rises and falls, suggesting puppet theatre. I meant to work on the idea of wonder, whose essence is so elusive, however foreshadowed by the marquee.
There is a kind of analogy between the bodies of the actors and the canvas of the marquee...
Indeed. The limit between the scenography and the actors is porous. In each of my creations, there is always a point when objects can turn into actors and actors can become objects. Here, all eight artists come from the circus. Their performances are extremely athletic. Their bodies end up emerging as rubber-sheet geometries. There are rifts and creases on the human body, very much like on the canvas of the marquee. They are, in both cases, places of frailty.
Somehow this show allows the audience to consider the marquee as a new medium, a space of modernity, a space of contemporary creation.
I enjoy shifting and unsettling the audience’s expectations. Ideally, I would want Géométrie de caoutchouc to have as many interpretations as the number of spectators in the audience. I always try and leave as much space as possible for the audience. Ultimately, they apply the finishing touch to my work.
Once again in this creation, we are confronted to the special attention you pay to imagination.
To me, the experience of imaginary worlds is a fundamentally human experience. In my creations, my aim is to show imaginary worlds closely intertwined with the laws of physics surrounding us. The stage is one of the few fields of art where one cannot escape from the laws of classical mechanics.