Fabrice Murgia has a labourer and resistant background. He works on physical and visible exiles as well as inner ones. Starting from an observant and very well-documented writing of the real, he summons a network of images that disturb and stir up. For Notre peur de n'être (Our Fear of (Not) Being), Fabrice Murgia enters creation with questions connected to malaises, crises and alienations. Based on Michel Serres' writings on the shift from the civilisation of the written word to that of new technologies, Fabrice Murgia builds on the Hikikomori who, in Japan, voluntarily cut themselves off from their environment and read the world through their screens alone in all likelihood to not become mad.
Our Fear of (Not) Being will therefore speak of that perhaps marvellous daily life, quite often surrealistic.
A few words from Fabrice Murgia
on Our Fear of (Not) Being.
I tried to be sincere in giving an account of my wandering in this belated capitalism that is hard to understand and in which it is above all necessary to make art something other than a simplistic and not very convincing explanation.
My utopia has never been to understand, but simply to make us capable of inheriting this world and trying to give it back its beauty.
If the role of the machine is to serve this system and to make our relationships dependent on it, I now want to raise the question in the opposite sense: working on the notion of the hope that the new technologies can arouse in current and future generations.
Beyond a digital concept of the future, the show will talk about young people who need to hope, who need to express this believe in beauty. About its force as well when a turning point emerges and about its fervour when a counterculture is born.
And that is why I'll inverse the grammar of the narration: it will be young actors who will manipulate the theatre machinery, both from the technical viewpoint and that of the story. It is important for the energy of these six actors on stage to be the show's fuel, the system's centre.