The principles that underlie the scenography we are working are: to gather together, in one single breath, humanity and humanity’s infinite double, so that they finally agree to not sell off the immensity of mysteries to reality’s hungry logic. To look for the Ekklesia of one’s solitude through a scenology of doubling. We have decided to separate the space of interpretation, and the space of representation. 

The space of interpretation is at the front of the stage. Built around Dgiz, the modern day narrator of this fable, it is a space dedicated to words. 

The space of representation is behind him: this is where there is someone juggling and Paillasse the clown. Paillasse presents an iconic and mute figure of Job: he moves in a dreamlike environment made of swarms of plastic bags. 

Jean Lambert-wild and his team further here their reflexion on the use of technologies. Léopold Frey continues to develop the Entropie, Luminaria, Retes and Voix electronique systems, and is designing the AMIS system especially for The Misfortune of Job. These tools allow the construction of new, cross-disciplinary spaces: the AMIS system. In the text, Job faces his friends whose questions cast a critical eye on his story and his situation. Every night, Job will face the gathered community that comes to the Theatre. The audience, summoned, will then become his friends. The point here is to offer this community a space for words and writing, for memory, for criticism, that goes beyond and further and that perpetuates convening and representation. Nowadays, messages empty of meaning, with no mystery, no utopia saturate the screens of our mobile phones. We have wanted to turn these intimate spaces into screens with a meaning. The Misforutne of Job allows us to develop the AMIS system. Frédéric Révérend and Jean Lambert-wild are working specifically on the discourses of Job’s friends, establishing a list of text messages that would cover the text’s fundamental questions. Audience members’ phone numbers are collected ahead of the performance and uploaded onto the computer. During the performance, these questions are sent to audience members in a text message. Audience members can reply, forward these messages to other people or simply keep them. 

Their answers are archived and displayed on the Comédie de Caen’s website.   

A musical and luminescent space: Working with the multicast software Entropie, Jean-Luc Therminarias composes a musical space made of moving sound that surround the audience. Jean Lambert-wild and Jean-Luc Therminarias further explore choirs, orality, and the musicality of voices with the Voix électronique system, a live voice processing software that actor Stéphane Pelliccia uses during the performance.

Lighting is used like a piano or violin string: it can vibrate according to several resonance frequencies. It is sensitive to frequencies and resonance modulations of both voice and music. Luminaria, a software that allows to both design and operate lighting, is both a traditional lighting software and an open and scalable system. Its parameters are defined according to whoever musical or poetic project we want to work on, and they allow compete or partial interactivity between sound and lighting. Unlike a traditional lighting console, here each memory is not one fixed lighting state but it is in constant motion. 

The Retes system provides a network that allows interaction between the different operating desks (exchange of information, remote control…)