It is a meeting between man and a robot, one of these huge articulated arms which are used in car assembly lines to carry out the hard and tedious tasks that workers used to do; It is a real robot, straight from its original factory. There, it had a purpose. Here, on stage, it has become “ without object”. Aurélien Bory must therefore find a role for it, somehow make it more human. “Its behaviour is by no means modified, its mechanical qualities, power, and the brutality, even the violence of its movements, which are a somewhat warlike, remain. Here, man and robot are partners. What matters is their way of drawing closer and establishing contact. They are caught within an artistic space; in other words, if one considers the values of the industrial world, they belong to the field of “uselessness”. “They seem to revert to the old relationship between primitive man and animals; before he could domesticate them, he had to fight them in initiatory rituals similar to this unusual game between a human being who knows the rules and a robot which, just like a child at play, discovers them, invents them and finally dominates them. You can’t take anything for granted.” – Colette Godard
conception, scenography and director – Aurélien Bory artistic advice – Pierre Rigal lights – Arno Veyrat stage set – Pierre Dequivre robot programming – Tristan Baudoin sound – Stéphane Ley costumes -Sylvie Marcucci with – Olivier Alenda, Pierre Cartonnet (distribution en cours)