Pierre Rigal: Erection

Aurélien Bory, co-creator of „Erection” had great influence on Rigal’s evolving artistic universe. Bory is the artistic director of Compagnie 111, one of the ’cutting edge’ companies of French new circus. His work is characterised by experimentation and re-discovering different artistic eras and tendencies (such as the constructivism of the 1920’s and Bauhaus), also present in the conception of „Erection”.

Erection The choreographic idea of the show is extremely minimal: it consists of going from the lying position to the standing position. However, despite the radicalism of this research proposition, the path that the dancer takes is split up into different directions. Indeed, for this individual or this creature, depending on the points of view, each cleared stage is systematically a new step of calling into question. The goal is at any time to reach the next stage, without necessarily knowing the goal of the final position, the standing position. The dancer consequently cannot avoid wrong tracks, unsteadiness, muscular tiredness, physiological deadlock… The body gestures look for means to rise.

Through the movements of the dancing body, the audience attends to the empirical and sometimes absurd solution of a problem.

The man – animal Through this progressive movement that goes from the horizontal position to the vertical position, the evolution of a species story seems to be tackled. First lying, then on his hands and feet, the man stands at last. The dancer’s gestures are subjected to organic constraints imposed by the Darwinist necessity of rising. Not without any hesitation and difficulty. The dancer analyses as step by step the ways he must take to set himself up. He discovers the limits or the progress of his muscular and bone capacities, he gets round his balance and coordination problems. And it is as a living subject that he will perhaps manage to stand up.

The man – individual At the same time, the way to the vertical position taken by the dancer looks like a condensed experience of the life of an individual (and, in this case, of a male individual). A baby walks on all fours, the first steps of a little boy, the running of a teenager, the walk of an adult; the many states and movements of this journey lead to elevation. Even if the fantasy of a uniform and constant curve of growth is just an illusion, the main steps of life stand out even so. At every stage cleared with slowness, with strength, with easiness or with weakness… questions become more and more precise: what does becoming a man mean? What is masculinity?

The man – social If he has to stand up, the individual does it under eyes watch. The duty of social rise, respectability, strength and sexual performance, becoming a man imposes obligations. These obligations may lead to contradictions, pains or madness. To stand up to, to draw oneself up can also mean to conflict, to rebel, to fight – with or without success. The gesture of elevation belongs not only to the dancer, but also his social group.

Video as scenography and light Whether he is a man-individual or a man-animal, the dancer follows the logics and the internal liking that occur to him. But more than these introspective strengths, he is guided by external influences. His environment and the group he belongs to (by extension, the audience) determine his development. He will adapt himself to the evolution of space, he will conquer territories. This idea can be developed through the scenography (elements of external influences). A space of light is created thanks to a zenithal video projection, on a blank space, on a completely white floor. The space, that the dancer will have to take over, will change; as well in terms of colours, graphics, textures, shapes, than in terms of proportions and movements. While adapting himself to this environment, the individual-creature will progressively build his rise. At any time, this moving floor implies a reaction, a fit and, consequently, has an influence on the dancer gesture.

The video is diverted from its primary use and then holds concurrently, in this precise case, two new functions. On the one hand, it is used as a light instrument. An extremely rich light, with a infinity of various colours and shapes. On the other hand, video is also used as scenography and architecture, as it defines the limits of the playing space and allows its evolution.

Living holograms The dancer advances in his rise. He finally sets himself up.

The animal species becomes the Man. The individual becomes a man. What can happen once this stage is reached? Towards what is the human being heading? How will this adult mature? Will the human race be genetically modified? Will it be cybernetic and electronic? Will it disappear? Will it be able to fly? After this long path, have this adult imagined that he would be the man he has become? How will this man collapse? How will he be heading towards the death?

At this moment, the standing position leads to an infinite area of questioning. The scenographic and light device must then evolve. A second type of video projection appears. It consists in projecting on the dancer (and only on the dancer) his own image, creating a “hologram” effect. The confrontation of the subject with his video representation allows disturbing choreographic distortions.

Does this fluorescent and electric animal become super-man? Does it become a cyborg? Seeing his own image getting out of his body, does the individual watch his soul coming to life and, consequently, his death appearing?

In the context of the first device, the body comes within the video. So, the light projection lays down the space that must be occupied, determines the gestures. On the contrary, in the context of the second device, the video comes within the body. The latter becomes a source of light and playing space.

The sound The sound plays live with the dancer, as if it was itself an actor. The sound acts upon the gesture of the dancer, but, vice versa, the dancer can influence the sound. This original creation is mainly composed of electronic elements. However, in fits and starts, like a leitmotiv, instrumental elements based on electric guitar come and accompany the dancer. Supplementary sound stratums come and sustain it. Finally, the accumulation of coats and layers leads to a maximal sound tension.

Erection (45 min) Concept – choreography – video – interpretation: Pierre Rigal Concept – direction: Aurélien Bory Sound creation – music: Sylvain Chauveau – Joan Cambon – ARCA