En poursuivant votre navigation sur ce site, vous acceptez l’utilisation de cookies à des fins d'analyse et de confort de visite sur ce site. J'accepte

Top of
the page

Compagnie 111 - Aurélien Bory

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 - 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
2011 Creation of Géométrie de caoutchouc, piece for a marquee
2012 Creation of Plexus for Kaori Ito
2013 Creation of Azimut for le Groupe acrobatique de Tanger
2016 Creation of Espæce


Anti-Gravity's Rainbow

After having imprisoned the Japanese dancer Kaori Ito in a wire forest in Plexus, in Azimut Aurélien Bory makes the Goupe Acrobatique de Tanger fly. A director who stages universal gravity and space odysseys, this celestial juggler’s dramatical object is the actor himself. A strairway to heaven for a physical and metaphysical theater.

In the early nineteenth century the Comte de Saint-Simon suggested replacing God with universal gravity. Aurélien Bory could have made the same claim about in his latest show, Azimut, bringing the heavens to earth through Moroccan acrobatics, a Sufi ritual practice. Except, in this case, all that governs the universe has replaced gravity. As he explains, “Theater is one of the few arts where you can’t escape gravity and the laws of general mechanics.” That doesn’t keep him from trying to find a way out of Newton’s theory of gravitation mechanics and defy, voluntarily and desperately, the earth’s pull.

In the uiverse of what he calls his “physical theater”, the bodies of dancers, jugglers and acrobats refuse to fall and rise instead. Their leap is the flight of Icarus. In Erection, Pierre Rigal tries to go from lying down to standing up. In Taoub and Azimut, the Groupe Acrobatique de Tanger walks on walls, climbs a sky grid and builds human pyramids as dozens of bodies pile on top of one another in an effort to make one single infinite body. At the end of Plexus, we see Kaori Ito tireless try to climb the wires above the stage, each time seeming to become more suspended – or lost – in weightlessness: in space, no one can hear you scream. Aware of Albert Einstein’s theory of general relativity, the director takes space-time distortions into account in order to overturn traditional gravity. In space nothing can stop an object, and still less a man or a woman. If we adopt Einstein’s analogy, space is like a canvas that wrinkles under bodies. These folds pierce the space-time curve, just like the acrobats do to a large piece of fabric in Taoub and the tarp taht covers the mechanical arm in Sans Objet.


Bory’s imagination draws on the laws of  physics. He effortlessly combines brashness and quasi-mysticism, juggling and mathematics, to turn dance and acrobatics into new devices at the disposition of actors. His physical and borderline theater renews forms by creating voids and studying space. An apprentice physics researcher in Strasbourg before going to work for a firm specializing in architectural acoustics, he thought he had totally broken with his scientific past when he joined a circus school to be a juggler and then became an actor in a theater troupe, finally founding the Comagnie 111 in Toulouse. But when confronted by the stage – the surface rectangle and the space above – it all came back to him. His vertical and combinatory art was inspired by the vertiginous idea of black holes and the discovery of the Higgs boson, the energy shift finally identified as a “particle of space” in 2012. Not to mention shadow theater, which his elementary school teacher introduced him to. And of course Greek theater, the latter word meaning “the place where one sees”, in which theater is not a practice but a relationship.

In scrutinizing the movement of objects and the mechanics of space, the director sought, like kleist, to unveil the mechanics of grace. As is well known, the German playwright was fascinated by puppets, because, he said, they can escape the pull of gravity. ” They are unaffected by the inertia of matter, the property most disavantageous for dance”, he continued, “because the force holding them up is greater than the force keeping them down”. Yet Bory rejects being called a mere puppet master, a vile Mangiafuoco pulling little Pinocchio’s strings. For him, an actor is “someone who performs actions”. “Of course theater is ruled by the physicak laws of space and gravity”, he admints, “but no less by life and death, which also rule over each drama.”

The stage is a world

He eschews the idea of making these elements explicit, prefering to leave their apprehension to the senses rather than the mind so that audience members can interpret the show as they please. ” For me, not knowing exactly what you are seeing is one of the best ways to approach theater”, he argues. Nevertheless, “What we see in theater is ourselves. The stage is a world. Actors are situated in this space, and the interrogation is about people’s place in the world.” This access to characters’ invisible interiority is particularly striking in Bory’s two Portraits de Femmes. In Questcequetudeviens?, the dancer Stéphanie Fuster strives to learn flamenco while confined to a small modular unit – an image of passionate rupture and its infinite solitude. In Plexus, Kaori Ito – a dancer (the work doesn’t exist in Japanese) who has come from one continent to another – slowlu disappears into her open cubical prison made of black wires, a ghostly revenant seized by ancestor worship. His solo dances, which could be considered self-portraits, are touched with the same off-kilter and slightly droll melancholy. Pierre Rigal tries to stand up and walk in Erection, while Vincent Delerm plays with his own shadow in Les Amants parallèles. Bory, for love of songs, the “sound of the soul”, recently staged a production in which Delerm sings. It is “as if we practiced synchronized swimming in parralel pools”, Bory comments.

This minimalist theater in the form of an hommage to the spaque, circle, cube and geometry (including musical) brings to mind the spectacular cinematography of Gravity, the Academy Award-winning film by Alfonso Cuaron. As Mathieu Macheret wrote in Cahiers du Cinéma, “In this film the spectacle is linked to primitive notions such as distance and proximity, impossible cuts and the plenitude of time.” Because universal gravity is never wrong, like Curon this temporal plenitude interests Bory. “Space moulds us, it’s stronger than we are; it carrires us and then swallows us up in the temporal interstice is where humanity lives.” A humanity whose face is that of Sandra Bullock as Dr. Ryan Stone, and all Bory’s dancers, acrobats, singers and theater directors with their “Mir space station cosmonaut” airs. Suddenly we wonder about the hidden god of this harmony of spheres. Rather than the cold playing out of possible mathematics, this existential theater might have more in common with the wordless romances of the late Beckett, the crepuscular rites of Quad and its silent dance around the angles of a square. Or the ghostly dance in The Lost Ones, with ist large cylinder full of captives trying to climb (symbolic) long ladders and “take refuge in nature”. Human beings can become indistinguishable from the material they are made of. Bory’s physical theater is also a metaphysics.


Emmanuel Daydé

Read more articles