Skip to main content
Back to search
  • Add to playlist

Sans Objet

Fondation BNP Paribas 2011 - Director : Picq, Charles

Choreographer(s) : Bory, Aurélien (France)

Present in collection(s): Fondation BNP Paribas

Video producer : Compagnie 111; Maison de la Danse

en fr

Sans Objet

Fondation BNP Paribas 2011 - Director : Picq, Charles

Choreographer(s) : Bory, Aurélien (France)

Present in collection(s): Fondation BNP Paribas

Video producer : Compagnie 111; Maison de la Danse

en fr

Sans Objet

Art is not moving forward, it's not a high performer, it cannot be measured and it proves nothing. At the starting point of all my creations, I always ask myself two questions: “What's it about? And, why do it?” At the same time I imagine the stage area. Set design has always played a central role in my creations. Its function is not decorative, but one of action. It acts on the actor, and reciprocally. Is the stage not the art of a space? With “Sans objet” I wanted to bring an industrial robot onto the stage that had the strength to move all the elements of the décor as well as the actors. As such, the machine becomes a protagonist in its own right. This machine is an articulated, mechanical arm. We are going to use it like a “puppet” – a 100% technological being – that dialogues with an ordinary contemporary being. These characters are obliged to cohabit the stage, and it is impossible to ignore them. It's as if man today was made up of two facets: man is still human, but is becoming more and more technological. This relationship between man and machine is evolving. It's not a question of judging it, but one of observing it. Robots first arrived in the industrial world in the 70s; the idea is to take it out of its environment and put it on stage. In this way, it moves into the field of art, of uselessness.  It becomes “sans objet” (no reason for being), actor. We have always attempted to cross the line between, the living and the non-living using our imagination: so, objects exist where we say they have a soul, the myth of the statue that comes to life, and so many other devices, props in science fiction… This perspective interests me to the extent that it's becoming more and more concrete. Don't we currently mix together biological and electronic, i.e. living and inert! Here, we can see a double movement: the robot tends to humanize itself, and man to robotize himself. There is a risk that man will become “weaker” than the robot. Performance is at the heart of this question. Man will be obliged to “technologize” himself if he wants to continue to compete. In the past, to test his abilities, he pitted his strength against that of animals. Today, the challenge is in technology. In robotics, the Japanese are almost twenty years ahead of the Europeans and I could have ventured over there to check out their latest developments. Yet, I chose this old, basic robot, which is the industrial robot to go back to the origins of this technological evolution. What interests me is this articulated arm, its strength. Olivier Alenda and Olivier Boyer are the performers playing the roles of the ordinary contemporary man faced with the ascendancy of a robot.
Technical implementation is always important in my creations. Yet, at the same time, this is all very small-scale, the robot itself is simple. And I have a loyal, highly-skilled technical team working with me in Toulouse: without my team, it would be hard for me to produce my creations. sans objet can mean “useless”. This title is also an echo to the space left empty in a field in computing: the uselessness of an email sans objet (without a title), the unspecified… And if in the surprise of its dance with man, the robot that has been taken out of its industrial context – and which has become functionally useless-, reminded us of the nature of art: to be totally sans objet (useless)?


Propos extraits d'un entretien de Marie Bertholet pour le Théâtre Vidy-Lausanne, juillet 2009

Bory, Aurélien

Aurélien Bory was born in Colmar in 1972. His studies in physics in Strasbourg led him to the field of architectural acoustics.  He then ended his scientific curriculum in 1995.  He settled in Toulouse where he joined the creative studio at the Lido, the Circus Arts Centre. In 1998, he played in Theatre Tattoo's "L'Odyssée" directed by Mladen Materic.  In 2000 he founded Compagnie 111 with actor Olivier Alenda.  He then conceived and began the six-year-long space trilogy project, in collaboration with Phil Soltanoff, including "IJK", "Plan B" and "Plus ou moins l'infini" (More or less, Infinity).
In 2003 he directed Pierre Rigal in his first solo creation Erection, the stem of their ungoing collaboration, which also originated their second work together: Arrêts de Jeu premiered in 2006. Merging various other fields, he created "Taoub" in 2004 in Tangier with twelve moroccan acrobats, this very show will launch the international career of the Groupe acrobatique de Tanger (Tangier Acrobatic Group).  In 2008 Aurélien was the recipient of the "Créateur sans frontières" (Creator without borders)/ Radio France trophy for his international creations, notably "Les sept planches de la ruse" (The seven boards of skill) created in China in 2007 with performers from Dalian. In 2008 and 2009, he conceived two creations: "Questcequetudeviens?", a portrait of a woman, and "Sans Objet", a piece for an industrial robot. His creations include different artistic fields : theatre, circus, dance, visual arts, music...  His genre-crossing approach is inscribed within the question of space and is explored through his distinctive scenography. In 2016, he created "ESPÆCE" based on the French writer Georges Perec 's work, at the Festival d'Avignon (France).


Source: Company 111 's website ; Plan Bey 's press file


More information : cie111.com

Picq, Charles

Author, filmmaker and video artist Charles Picq entered working life in the 70s through theatre and photography. A- fter resuming his studies (Maîtrise de Linguistique - Lyon ii, Maîtrise des sciences et Techniques de la Communication - grenoble iii), he then focused on video, first in the field of fine arts at the espace Lyonnais d'art Contemporain (eLaC) and with the group « Frigo », and then in dance.
  On creation of the Maison de la Danse in Lyon in 1980, he was asked to undertake a video documentation project that he has continued ever since. During the ‘80s, a decade marked in France by the explosion of contemporary dance and the development of video, he met numerous artists such as andy Degroat, Dominique Bagouet, Carolyn Carlson, régine Chopinot, susanne Linke, Joëlle Bouvier and regis Obadia, Michel Kelemenis. He worked in the creative field with installations and on-stage video, as well as in television with recorded shows, entertainment and documentaries.

His work with Dominique Bagouet (80-90) was a unique encounter. He documents his creativity, assisting with Le Crawl de Lucien and co-directing with his films Tant Mieux, Tant Mieux and 10 anges. in the 90s he became director of video development for the Maison de la Danse and worked, with the support of guy Darmet and his team, in the growing space of theatre video through several initiatives:
      - He founded a video library of dance films with free public access. This was a first for France. Continuing the video documentation of theatre performances, he organised their management and storage.
      - He promoted the creation of a video-bar and projection room, both dedicated to welcoming school pupils.
      - He started «présentations de saisons» in pictures.
      - He oversaw the DVD publication of Le tour du monde en 80 danses, a pocket video library produced by the Maison de la Danse for the educational sector.

More recently, he launched the series “scènes d'écran” for television and online. He undertook the video library's digital conversion and created the website numeridanse.tv, an international video library for dance online.

His main documentaries are: enchaînement, Planète Bagouet, Montpellier le saut de l'ange, Carolyn Carlson, a woman of many faces, grand ecart, Mama africa, C'est pas facile, Lyon, le pas de deux d'une ville, Le Défilé, Un rêve de cirque.

He has also produced theatre films: Song, Vu d'ici (Carolyn Carlson), Tant Mieux, Tant Mieux, 10 anges, Necesito and So schnell, (Dominique Bagouet), Im bade wannen, Flut and Wandelung (Susanne Linke), Le Cabaret Latin (Karine Saporta), La danse du temps (Régine Chopinot), Nuit Blanche (Abou Lagraa), Le Témoin (Claude Brumachon), Corps est graphique (Käfig), Seule et WMD (Françoise et Dominique Dupuy), La Veillée des abysses (James Thiérrée), Agwa (Mourad Merzouki), Fuenteovejuna (Antonio Gades), Blue Lady revistied (Carolyn Carlson).

Source : Maison de la Danse

Sans Objet

Interpretation : Olivier Alenda, Olivier Boyer

Artistic consultancy / Dramaturgy : Pierre Rigal

Stage direction : Aurélien Bory

Set design : Aurélien Bory

Original music : Joan Cambon

Lights : Arno Veyrat

Costumes : Sylvie Marcucci

Settings : Pierre Dequivre, Frédéric Stoll (accessoire moniteur), isadora de Ratuld (patine), Guillermo Fernandez (masques)

Technical direction : Arno Veyrat (régie générale)

Sound : Joël Abriac

Other collaborations : Tristan Baudoin (pilote – programmation robot)

Production / Coproduction of the choreographic work : production, administration, diffusion Florence Meurisse, Christelle Lordonné production Compagnie 111- Aurélien Bory coproduction TNT-Théâtre National de Toulouse Midi-Pyrénées, Théâtre Vidy-Lausanne E.T.E, Théâtre de la Ville-Paris, La Coursive-Scène nationale La Rochelle, Agora-Pôle national des arts du cirque de Boulazac, Le Parvis-Scène nationale Tarbes- Pyrénées avec l'aide de London International Mime Festival Résidence TNT-Théâtre National de Toulouse Midi-Pyrénées remerciements à L'Usine, lieu conventionné Arts de la rue - Tournefeuille La Compagnie 111- Aurélien Bory est conventionnée par le Ministère de la Culture et de la Communication-Direction Régionale Affaires Culturelles Midi-Pyrénées, la Région Midi-Pyrénées, la Ville de Toulouse. Elle reçoit le soutien du Conseil Général de la Haute-Garonne La Compagnie 111- Aurélien Bory bénéficie du soutien de la Fondation BNP Paribas pour le développement de ses projets.

Production / Coproduction of the video work : production Compagnie 111-Aurélien Bory, Maison de la Danse

Our videos suggestions
03:46

La Valse de Vaslav

Tompkins, Mark (France)

  • Add to playlist
03:01

Hard to Be Soft

Doherty, Oona (France)

  • Add to playlist
03:01

Peekaboo

Goecke, Marco (France)

  • Add to playlist
04:07

Icons

Tompkins, Mark (France)

  • Add to playlist
02:50

Witness

Tompkins, Mark (France)

  • Add to playlist
03:18

Under my skin

Tompkins, Mark (France)

  • Add to playlist
05:59

STAYIN ALIVE

Tompkins, Mark (France)

  • Add to playlist
02:59

Eins Zwei Drei

Zimmermann, Martin (France)

  • Add to playlist
03:00

Vertikal

Merzouki, Mourad (France)

  • Add to playlist
02:59

Dialogue with Rothko

Carlson, Carolyn (Dialogue with Rothko)

  • Add to playlist
06:37

Why can't we get along

Millepied, Benjamin (United States)

  • Add to playlist
02:52

Firebird

Goecke, Marco (France)

  • Add to playlist
04:10

La Bête

Schwartz, Wagner (France)

  • Add to playlist
05:12

Savušun

Darabi, Sorour (France)

  • Add to playlist
04:28

20 Minutes for the 20th Century, but Asian

Lin
, River (France)

  • Add to playlist
05:55

Dance, if you want to enter my country!

Matsune, Michikazu (France)

  • Add to playlist
04:21

DISPARUE (dehors)

Santander Corvalán, Marcela (France)

  • Add to playlist
02:33

Everything Not in Its Right Place II

Bhu Bhu II (France)

  • Add to playlist
05:28

Your teacher, please

Teodoro, Ana Rita (France)

  • Add to playlist
04:46

Still waters

Carlson, Carolyn (France)

  • Add to playlist
Our themas suggestions

The “Nouvelle Danse Française” of the 1980s

Parcours

Francis de Coninck

The “Nouvelle Danse Française” of the 1980s

Parcours

In France, at the beginning of the 1980s, a generation of young people took possession of the dancing body to sketch out  their unique take on the world. 

Discover
Know more

Body and conflicts

Parcours

Olivier Lefebvre

Body and conflicts

Parcours

A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.

Discover
Know more

Why do I dance ?

Webdoc

Julie Charrier

Why do I dance ?

Webdoc

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
Discover
Know more

Genesis of work

Parcours

Centre national de la danse

Genesis of work

Parcours

A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff

Discover
Know more

Artistic Collaborations

Parcours

Centre national de la Danse

Artistic Collaborations

Parcours

Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians

Discover
Know more

Meeting with literature

Parcours

Centre national de la danse

Meeting with literature

Parcours

Collaboration between a choreographer and a writer can lead to the emergence of a large number of combinations. If sometimes the choreographer creates his dance around the work of an author, the writer can also choose dance as the subject of his text.

Discover
Know more

Dance and performance

Parcours

Marie-Thérèse Champesme

Dance and performance

Parcours

 Here is a sample of extracts illustrating burlesque figures in Performances.

Discover
Know more

Round dance

Parcours

Olivier Lefebvre

Round dance

Parcours

 Presentation of the Round’s figure in choreography.

Discover
Know more

Do you mean Folklores?

Parcours

Sarah Nouveau

Do you mean Folklores?

Parcours

Presentation of how choreographers are revisiting Folklore in contemporary creations.

Discover
Know more

Rituals

Parcours

Anne Décoret-Ahiha

Rituals

Parcours

Discover how the notion of ritual makes sense in various dances through these extracts.

Discover
Know more

Scenic space

Parcours

Anne Décoret-Ahiha

Scenic space

Parcours

A dance performance takes place in a defined spatial area ... or not. This course helps to understand the occupation of the stage space in dance.

Discover
Know more

States of the body

Parcours

Philippe Guisgand

States of the body

Parcours

Explanation of the term « State of the body » when it’s about dance.

Discover
Know more

Ballet pushed to the edge

Parcours

Olivier Lefebvre

Ballet pushed to the edge

Parcours

 Ballet’s evolution from its romantic form until néo-classicism.

Discover
Know more

La Biennale de la danse

Exposition virtuelle

Biennale de la danse

La Biennale de la danse

Exposition virtuelle

La Biennale de la danse est un événement lyonnais que la ville traverse toutes les années paires. Voici l’histoire de cette aventure et un historique de toutes ses éditions.

Discover
Know more

La Fondation BNP Paribas

Exposition virtuelle

Fondation BNP Paribas

La Fondation BNP Paribas

Exposition virtuelle

Depuis sa création en 1984, la Fondation BNP Paribas soutient les arts de la scène. Attentive à la qualité de son engagement auprès de ses partenaires,  elle veille à accompagner leurs projets dans la durée.  Découvrez les engagements de la Fondation.

Discover
Know more

La Maison de la Danse de Lyon

Exposition virtuelle

Maison de la Danse de Lyon

La Maison de la Danse de Lyon

Exposition virtuelle

Créée à Lyon en 1980, la Maison de la Danse fut le premier théâtre en Europe dédié exclusivement la danse. Avec plus de 150 000 spectateurs par saison et près de 200 levers de rideaux, la Maison de la Danse rassemble aujourd’hui un large public de spectacles très fédérateurs mais aussi d’œuvres innovantes et de recherche. Théâtre de diffusion mais aussi pôle européen de création et d’innovations numériques, la Maison de la Danse vous ouvre ses portes et vous dévoile ses projets.

Discover
Know more

Dancing bodies

Parcours

Centre national de la danse

Dancing bodies

Parcours

Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.

Discover
Know more

Female / male

Parcours

Anne Décoret-Ahiha

Female / male

Parcours

A walk between different conceptions and receptions of genres in different styles and eras of dance.

Discover
Know more

Dance and props

Parcours

Julie Charrier

Dance and props

Parcours

Choreographic creations sometimes include accessories to complement, nourish or constrain dance.

Discover
Know more

Dance and visual arts

Parcours

Marie-Thérèse Champesme

Dance and visual arts

Parcours

Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.

Discover
Know more
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more