The theme of overflowing infiltrates the theatre.
An overflowing is a crossing: from inside to outside, from full to empty, from the corpse to silence.
An overflow cannot be stopped.
That which has overflowed will never be the same again.
The notion of movement, of the serenity of gestures, of the fullness of ideas, soaks through the idea of overflowing. It is also the overflowing of the theatre by all the disciplines it contains.
It is the overflowing of the audience's presence on stage, like yet another construction material.
The desire for the overflow of emotions, thoughts, poetry.
It is a place of the betrayal of words and objects.

Overflowing is also a bullfight: the last place where death is put on stage?
The theatre has no meaning except in resistance, except if everything can be lost at any moment.
Art must not become settled, it is in permanent revolution: it is the overflow itself.

Overflowing is a state of mind, it is not being afraid.
It can be funny, mysterious or tragic: whatever it is, it is alive. But with the life of an outlaw, a life which dies all the time.

In the theatre, overflowing finds - finds again - its place, next to and around the text.
It is the branching out of the text.
It is a non exhaustive work.
It is an autonomous work.

Débordements II - Là où je vais by Gilles Aufray follows Débordement I - Tombeau Chinois by Roland Fichet, and will be followed by a third play. An experiment to develop a theatre with two breaths: spoken sequences alternating with purely visual sequences.
The latter are experimenting the techniques of masks, of marionettes, of a theatre of objects, of the manipulation of bodies and materials, of the creation of moving theatrical images and including scenic design proposals for curious spectators.

This second "overflowing" is seeking a new adventure for the audience: he is a witness, not just a consumer. To search for the paths leading to total theatre, an art of the spectacular union between audience and actors, an art of meaning, where pre-thought (televisual) has no place. Thinking becomes a choice, then a pleasure: imagining.

Alongside the actors develop two silent figures.
The first seems to be a technician. He can manipulate at leisure all the objects which surround the actor: spotlights, curtains, mikes, booms. He is a theatrical diapason: His actions take place in the audience's real time.
The second is a visual artist who intervenes directly on the bodies of the actors or on the materials. She can paint, decorate the stage, dress the bodies, make objects, and so on. She is destiny, chance, death, the director, she manipulates, she provokes, she prevents.

Débordements II builds up the subjective point of view of a man - the character Lligès - on the world. Six actors and a visual artist in turn embody this figure of modern man. We share seven moments of his life: what he has lived, what he has dreamed. The electroshocks of our time thrill him, his salvation is in his overflowing.

This is an intimate and philosophical look at an everyday hero, as well as his revolt: his is an active "overflowing".
He advances, seeking pathetic but saving solutions.

The purpose of the stage design is to involve the audience as much as the actors. On no account does it seek the convention of wings, the magic trick, the illusion of the Italian-style stage: it is not just scenery.
Everything is visible in a concern for anti-naturalism, in order for the drama to be like a dream: a dream is an arrangement of signs, atmospheres, people, places, sounds, sensations, etc, with no logical links, but always with an emotional relationship with the dreamer.
Everyone will discover his dreams.