New York City
At once ominous and strangely beautiful, Aurélien Bory’s Sans Objet is an acrobatic dialogue between man and machine. Situated onstage, a large object shrouded in black plastic begins to move–its robot head peering out into the audience, exuding an eerie sentience. Two men in suits appear, responding to the object (a real-life automotive prototype from the 1970s) with a language of precise, mechanized movement. Soon enough, the men and the machine move in tandem, performing a captivating ballet between soul and steel that examines where one stops and the other begins.