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• Wings of Desire

A paradise built for two and their audience

Through what we could call a VR fiction we play with the new possibilities of body gestures, embodiment and interactions made possible with new technologies.

This project is a first step of a research on VR, theater and body gesture.

In VR the two directions of the embodiment theory, « bottom up » and « top down » comes together. A user is navigating through a virtual world that invites to move, using their body as an interface to discover their surroundings. A bottom-up motion. At the same time the user is immersed in a new environment where Visuals and Sound initiates thoughts and feelings which in turn modifies their body movements. A top-down motion. The experience of the self and the rediscovery of the body is then influenced and oriented. This two way street attract us. And it grants a different strategy for creating a movement piece.But beyond this fact, the attraction we have is also du to the tool in itself, VR goggles. While growing up, to prevent people to feel ashamed or embarrassed we learn, as a social rule, that the act of viewing, to stare at people is odd. Those masks, while making the user less inhibited allows the individuality to disappear to show to the others, the audience, only a «ghost image of human » . But doesn’t the core of humans become then even more visible then?

We believe in the theatricality of VR, for the users as much as for the non-users, the audience. We believe in the theatrical potential of the VR googles. We also believe that this possibility to watch other can emphasise empathy and make us feel our bodies in various ways.

Performance presented in the MORPH exhibition during Salone del mobile, Milan 2019 and in K11 Guangzhou, 2019.

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• Embodied in the ground of otherness

A Virtual Reality Experience

Plugg yourself into a pre/post life intermezzo.
A procession, a mirror play on new forms of life, theatricality and relations to others. Created in relation to Anna Aagaard’s piece, Dear Mother and for a MORPH ceremonial show.

« The whole space and nothing but the space.
I am not certain about everybodies feelings, but is there a wish to make the audience an active part-taker in the ritual? Will they be the one to perform the procession? And how far do we want to take the idea, that this space is indeed a theatrical space. The possibillity to go quite far and make an immersive happening where the visitors are, at times, asked to perform specific small rituals tasks, makes me quite excited. The moments in between can be used to look at the objects. This is like aproaching the exhibition as an immersive performance. A way to live different lives by putting theater in our spaces and bringing our spaces into the theater. Is it something that we would want? »

Performance presented in the MORPH exhibition
We Couldn’t find the Door, during Fëy Art
Festival in Villecien, France 2019

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• Forms of Social Engagement V1

A mixed reality performance/ Ongoing Research

Faced with the fear of otherness, dominant dominated models and the oblivion of empathy, we believe in the necessity to hack these systems of our time and re-invent our affective and corporeal links. How do we interact together as humans in the era of Screens and mobile social-media?
To answer this question, we believe in deconstructing the different modes and systems of communication to go back to the preamble: The Body.

Our research project, called FOSE,Forms Of Social Engagement, is a triptych of physical and virtual theater pieces from which FOSE-V1 is its first episode. A series of performances through which we want to refocus our participant’s attention back to the first tool of experiencing life, the prerogative of being human: the physical body and its communicative capacity vis-à-vis the surrounding world.

We want to encourage our audience to rediscover and decipher the complex inter-subjective field of human relations. To help re-evaluate their use of the body as a tool of communication with themselves and others. We believe there is a need to present contemporary interaction in its extremes: the opposition of the embodied social presence and the disappearance of the individual through digital media.

The first part of the triptych called FOSE-V1, is based on a modern form of hermit, originally emerging from Japan in the 1990 ’s : the Hikikomori. A psychological current, that has since spread globally, where people deliberately shut themselves away from physical society to merely live life through digital connections. Eventually reintroducing themselves into the social world after some months or even years, facing up to the problem of reintegration into the physical society status quo, its own rules of behaviors, its own systems.

FOSE-V1 firstly presents the interaction between two individuals: a woman and a man that beyond gender, sexual or love connotations, introduce two humans facing each other with their similarities and differences.
Before coming in, you have been invited to switch ON your phone during the show and download an augmented reality application conceived for it. This app, supplanting visual informations on the intertwined bodies, allows you to circulate the dancers in your own way and look at the performance through a selection of perspectives. Focusing on the difference between the screen and actual presence by carrying your own 4th wall with you. As you do every day.
FOSE-V1 allows you then, to delve into the complexity of human non-verbal communication skills and the system of a 1 to 1 interaction.
This project is still on the research phase in regard of the possible options of the technology we want to use and the possible dramaturgical options related to it.

Theses preliminary Researchs were made possible with the help of Stimuleringsfonds, Makershuis tilburg and IGG team of the ICube laboratory of Strasbourg University.

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• Meta-Movement-Land

A mixed reality performance/ → Next project

A space within a space, Outlined by hanging carpets
bodies are looking at a Body
Its eyes, covered with the digital goggles
reveal a trunk that dance
in this textile based meditative garden
the body enters the Meta-Mouvement-Land.

« Meta-Mouvement-Land, Flourish your inner world with this Body-gardening virtual reality experience. A VR-eography, a game-theater piece, with which the VR user becomes a physical performer, a Yogi discovering bodies from inside and out. »

Here you are, a shadow in a cave.
Things moves in front of you and invites you to join. A shiny river flows you away. Through copying its vibrations you start to navigate. Outside the cave, you enter your inner Utopia, around you, organs pumps, bacteria multiply, life vibrates and you move. You drift. Different body-parts for different vibrations. You drift. A voice talks to you, it shares with you its questions and doubts. You drift. You can feel on your own, what these movements means. Your body is multiple. You drif. Overcoming shame? Overcoming guilt? Share Empathy? Releasing pain? You drift. Moving through the big corpus listening to what «it/he/she/they» wants to share with you while amazed by the colourfull beauty landscape.

All this time, on the border of the land,
outside of the womb-cave, there is a tree that grows.
A tree shaped differently according to how you move toward it. A big forest appears,
you and us, all together in movement.
The voice thanks you for healing it, he, she, them and asks you ,
what are you?
The tree blossoms, grows old and dies. All, in front of your eyes.
End credits.

You drift, unveil yourself and take off the VR-goggles only to discover the caring eyes of a small circle of people around the carpet. The trees remain together at last. Have they been watching you all of this time ? You ?
A body inside a Body for the first time.