Ab Joy is based on the parceling of body and space, both real and imaginary. By splitting the performing stage into two remote physical locations linked through the network, "Ab Joy" created a third space, imaginary yet common to both locations.
Artists: Sandrine Pitarque, Xavier Boyaud
Tools used: Scenic
For many generations, in Western societies, the Cartesian idea of mind and body as separate entities has been dominant. And in the last 60 years, profound changes such as globalization, high-speed transportation and digital communications have expanded our influence while reducing and fragmenting our perception of the world and ourselves. Over the last decade, mobile phones and the Internet have accelerated these trends. Anyone can be here and elsewhere at the same time, at any time.
Ab Joy is experimental stagecraft that rejects the sectioning of mind and body, of the real and the imaginary, and seeks how we can celebrate the bonds that exist between these elements. In remaking the notion of stage space, to make it include two locations separated geographically but connected by a high-speed network that unifies images, sounds and information, ab joy creates a third space that is in the imagination but still a reality at both locations. By pooling four artistic practices (video, puppetry, dance and theatre), the show brings four different voices to the stage. Separate at first, they gradually come together to create moments of community among themselves and with the audience, despite the challenges of geography or language.
Constructing human limbs one by one, ab joy depicts the fragmentation and reification of our body; then, by turning them into puppets, it brings new organisms to life. Drawing on excerpts from poems, plays, newspaper articles and film dialogues, the show is also a tribute to the poetic force and political bravery of Pier Paolo Pasolini.
After 15 years of studying piano, Sandrine Pitarque turned her attention to the dramatic stage and performed various roles, between 1997 and 1999, in modern or classical plays. She has continued her training by studying puppet theatre and contemporary dance. She also finds the time for university studies in dramatic composition and stage direction..
Pitarque staged Enzo Cormann's Berlin, ton danseur est la mort in 2000; wrote and produced shadow puppetry for children in 2004; and has worked regularly on presenting street theatre events and clown shows. She has taken part in group shows inspired by the literary works of Sarah Kane and Sei Shonagon, and frequently leads workshops devoted to dramatic writing and performing.
In 2006, she was awarded a grant from Cultures France and the CALQ to go to Montreal for six months and develop a performance project inspired by the work of Pier Paolo Pasolini. She is now preparing a solo clown show based on her work in Montreal.
As a lighting director, stage manager or plastic artist, Xavier Boyaud has worked in theatre for nearly 15 years. His collaborators have included Serge Valletti, Eva Vallejo, Annie Lucas, Doreen Vasseur, Mylène Benoit, Dominique Sarrazin, Bruno Lajara, Frédérique Laforgue and Gérald Dumont.
These days, in tandem with his work in lighting and stagecraft, Boyaud produces theatrical "sound-light" experiments in collaboration with the composier Laurent Ostiz. These installations, entitled Réminiscences and In-Discrétion, were supported by a grant from DRAC Nord / Pas de Calais, in association with Le Fresnoy, [ars]numerica, CRRAV, Culture Commune (Bassin Minier Nord / Pas de Calais), and Palais des Beaux-Arts de Lille.