A few research labs have started to explore (since 2007) the theme : "The actor in the technological arena". They will greatly influence the upcoming creations.
To raise the question of the image on stage, and more widely that of technologies: can the virtual influence reality?
In that perspective, we came up with a series of rendez-vous between technicians and artists. We’re contemplating sharing some of the aesthetics induced by technology, with a theatre audience. On stage here means to the actor’s responsability. Which actor? Which actress? Which technologies? Which images? And to some extend, what is an image, what responsability is questionned by an image? And in what historical context?
The range of actors is open but strict. Will be able to challenge these labs the artists who enact the other significant agitative theatrality systems: dancers, singers, performers, pupeteers... As many authors-creators capable of, by their diversity, not only to stand out aside from speech but also to surrender to it, to what goes through it, to what resists when one must speak, to its priviledged relation with the present techniques, to the possible means of expression.
In order to apprehend technologies, we will stick to a very constraining work environment: only live video, movable screens, captors with various triggers, crossed sound/lights/video activation; a complex ensemble of digital machines and dedicated software. The problematics that we will face will be discussed and tried-and-tested as much on a practical point of view as on a theoretical one.
What comes out of the "new technologies" chaos:
– A hightened reality and its ambiguities
– The promise of an intensified entertainment
– An idea of modernity
– New narrations and non-narrations
– A spectacular technological complexity
– A mystical race towards a neo-Mankind/Human
– The economical aspect of stage management
– etc...
Our work of analyzing and oriention the "techno" suggestions, offers a wide range of methods of shaping and distorting the pre-thought audiovisual media imposed on our daily lives via so-called technological tools. We support the revendication of such technologies, but we also try to contradict their necessity.
Conscientization of these new techniques, trying them, deceiving them, unleashing them to make theatre, art out of them - and more widely the idea of a new behaviour for the interpreter.
Is the imagined possibility of a new social appropriation of science still possible?
What do we learn from machines, and in return, what do machines learn from us?
Dérézo will have worked with the ENNIB, CERV (ANR Project), INRIA... As many scientists, teachers and research workers, ingeneering students who have or would have accepted the idea of transforming their methods by meeting ours. And vice-versa.