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TOULOUSE Théâtre de la Digu

25 Sep 2000

Compagnie 117

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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The companie formed by Aurelien Bory, Olivier Alenda and Katja Wehrlin (recently replaced by Anne De Buck) who met on "L'Odyssée", unforgettable creation by Mladen Materic, is called 111, like the revolutionary last Sonata by Beethoven, but above all, it can be seen as the juxtaposition of three elementary particles. Their first performance is entitled IJK. Figures and letters, their cards lay on the table: we dwell in a mathematical space, a mindgame. Inspired by the Bauhaus, the performance intermingles music, non-spoken theater, acrobatics, jugglery in an abstract plastic fantasy. The jugglery can be divided in three types, seldom explored together sofar: acoustic, geometric and optical. Acoustic: balls ("kangaroos", rubber balls with bouncier rebounds than silicone balls, and making a sharper sound) thud into the walls of three, wooden parallelepipeds of various sizes, each designed to produce distinct sounds. Michael Moschen's famous triangle comes to mind, as well as other experiments to use the bouncing effect of a tilted plane (by Pierre Biondi or Franck Ténot from the Kabbal company, among others); but IJK expands the idea to a system, by pushing its musicality to extremes. Aurelien Bory was an acoustic architect before he became a juggler. Geometric: apparently nothing new in the extremely graphic courses of the bouncing balls, on the other hand the absence of the juggler, either in the dark or backstage, impulsing a movement to objects is quite unique. After Michael Moschen, Jérome Thomas in Hic Hoc had already turned the juggler into a kind of barely puppetmaster, therefore demonstrating that juggling is theatrical enough to do without the juggler himself, as a character or as some kind of a clown. Unlike this performance, which created kinetics illusions by the interlacing of curves, IJK asserts the straight-line and comes to terms with the angle. Optical: in the line of Bernard Kudlak and his juggling of shadows, IJK, in its 4th Act (out of 5), displays a ballet of balls changing sizes and planes behind a white screen.
Jean-Michel Guy

DALIAN (Chine) Création Théâtre de la Ville de Dalian

30 Nov 2007

Compagnie 113

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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14 performers

by Aurélien Bory with the artists from Dalian

Following his trilogy event in which this expert producer and acrobat with a degree in mathematics explored "volume", the "plane" and later the "line", Aurélien Bory felt the need to widen his horizons further still. Guided through China by Jean-Luc Larguier, this Toulouse-based member of Compagnie 111 made a halt in Dalian, a rather innovative port town that has no hang-ups about flaunting its love of triumphant modernity. Yet Aurélien Bory was to turn to something quite different when he visited Dalian's School of Art: he chose renewed tradition. Dalian is a Mecca of study and practice: it is here that the Peking Opera (a genre all to itself), acrobatics, martial arts, dance and music in particular are studied. From the theatre to the gymnasium he immersed himself in the very particular atmosphere that inhabits this school caught between two worlds: a prestigious past and an ambitious future. Even in the lively and bustling canteen he heard the performance of an "erhu" teacher (Chinese violin) and his two students. Having fallen under the spell of this instrument, Aurélien Bory was later to use it in The Seven Boards of Wisdom rehearsed and first produced in Dalian itself.
Phillippe Noisette

TOULOUSE Création Théâtre Garonne

10 Jan 2003

Compagnie 116

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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5 performers

Compagnie 111 - Phil Soltanof

An expression used mainly in whodunits and action films. You go on to plan B when plan A didnt work. I enjoy all that enormously: building up a plan, providing a spare one, in the knowledge that if that also fails, there will be no plan C. The characters of Plan B are in that state of mind, action, hope, fragility. Alone with their plans. . .
Aurélien Bory

LAUSANNE (Suisse) Création Théâtre Vidy-

23 Sep 2005

Compagnie 114

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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6 performers

Aurélien Bory - Phil Soltanoff

Plus ou moins l'infini -the last show put on by Compagnie 111 to date and directed by Aurélien Bory- closes a subtle trilogy begun several years earlier with the exploration of "volume" with IJK, then the "plane" with Plan B. Plus ou moins l'infini is simply concerned with the "line". A line which according to the mathematical equation, can be defined as extending on one side towards  infinity and on the other towards + infinity. According to Aurélien Bory, "this trilogy takes place in a so-called "space theatre" in which there is a strong complicity between place and subject. As far as I'm concerned, the theatre is the art of space par excellence. Through these shows we have sought to explicit their dimensions." On a more general level, Aurélien Bory touches on the space in which we live and the other tenuous link between Man and his surroundings. He quotes Mladen Materic, the stage director he trained with, who held that "space is stronger than anything else". What is true for an actor is also true of Man in a relationship of interdependence. Both obviously end up wanting to escape to conquer new territories.
Phillippe Noisette

BORDEAUX TnBA - Festival ¡Mira! 11

12 Nov 2008

Compagnie 112

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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dance, guitar, voice

by Aurélien Bory for Stéphanie Fuster

Qu'est-ce que tu deviens ?, like the English, "What's up?", is a question as banal as it is terrifying; it asks what you have become. It says that time has passed and that changes have occurred. It questions the choices made, and demands an on-the-spot assessment. It freezes the process of becoming, which is by nature in motion. It shows interest in the person asked, and even love, yet it can also be a sign of disinterest or disenchantment. It is a warning signal, a sting. There is despair in the way it asks, "What have you become?", yet hope is what drives evolution. It forces us to look at the known realm behind us, while the process of becoming propels us into the future, into the unknown.
Aurélien Bory

Théâtre national de Toulouse Midi-Pyrénées

07 Oct 2009

Compagnie 111

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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The story would be: robots and men, what have they got to tell? It could also be mankind's capacity to adapt or else the unexpected emergence of beauty, or maybe primitive forms in technology or else the future of humankind after humankind or else the simple pleasure of the use of form.
Aurelien Bory

TANGER (Maroc) Création Festival Nuits de la Méditerranée

18 Jun 2004

Compagnie 115

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I don't think the play has been published but you could try abebooks.com
or the playwright direct where their email is shown at the top of the page

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Piece

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12 performers

by Aurélien Bory performed by the Groupe acrobatique de Tanger

Lets say that this project didnt come from me. Sanae El Kamouni met me at the Théâtre Garonne in Toulouse, where she was on a course, while I was working on Plan B. She discovered my way of fusing circus, theatre, contemporary art and was very interested in this approach. She suggested that I should write a show in Morocco, where there are acrobats but no creation. I was already familiar with Moroccan acrobatics and I knew it to be unique and remarkable. I then suggested giving a two-week course in Tangiers, to meet acrobats and see what meaning such a project might have. One month later, I decided to write a show which would use only cloth as the medium for each scene, I wanted a mobile, fragile scenography relating to Tangiers. Thats where the title comes from, TAOUB, Arabic for "cloth
Aurélien Bory