In Base 11/19 , Guy Alloucherie revives traces of his previous shows. Guy Alloucherie tells his own story, the tale of a miner's son who becomes a theatre director: his childhood, his departure and his return to the mining area to establish his company in the Fabrique Théâtrale (an old pit top converted into a performing arts centre). He evokes everything that led him to question ideas about dramatic arts. The underlying questions spill out during the performance: why put on plays, for whom and how? By setting up his headquarters at the Fabrique Théâtrale, Guy Alloucherie and his company mingle with the memories and the tales of the people who have lived nearby. Base 11/19 calls to mind the people whom we've encountered, those who have willingly agreed to share their stories. Base 11/19 aims to question the relationship between art-population-society .

During the show, the spectator incessantly hovers between realistic art, an art form that points a finger and takes an active parole, and a poetic approach, an intimate phantasmagoria. The work is far removed from any narrative logic and the story takes form bit by bit, existing as fragments and trails to be followed: a combination of dialogue, acrobatics and dance structured as a sequence of portraits and shots. It is a unique kind of theater, somewhat reminiscent of a variety show.

All these stories are beacons and landmarks for the fourteen artists, actors, dancers and acrobats who cross the stage. Confined to this no man's land – a fertile land or battlefield – they take a plunge to the heart of the world's disorder. A bestial world where you need to be constantly alert, ready to struggle and fight. Their panting breathing, breathless dancing, the feline rage of their hand-to-hand contact, bring us close to real life with an energy that overflows to the point of exhaustion.