I am Bob

Aren’t we all Bobs?

In conversation with Imre & Marne van Opstal

Who is Bob?

Bob represents all of us. He stands for the average person—a universal yet faceless figure, caught in the tension of societal expectations. Bob is the worker, the cog in the machine, the individual conditioned to fit perfectly into predefined roles. He is also an archetype of the “normal individual,” expected to follow rules and fulfill obligations set by a world that often feels mechanical and alienating. But Bob is more than that—he symbolizes humanity’s internal struggle, oscillating between control and chaos, between autonomy and submission.

What systems are you describing in the piece?

We reflect on the absurdity of modern existence, where the systems we have created—work, social roles, cultural norms—dictate much of our lives. Bob becomes a living metaphor for our navigation through these systems. The piece touches on the humor and absurdity of human existence. Despite the burden of societal expectations, there is something undeniably comical in our attempt to structure, control, and rationalize our lives. We are creatures of habit, bound to routines and rituals that often seem arbitrary, yet we cling to them as if they are our lifeline.

Do you see your piece as a critical reflection on the modern “conditio humana”?

It is both a critique and a celebration of the human condition. It shows the sometimes silly, sometimes tragic nature of our existence, where we assign meaning to routines, systems, and roles that may, in the end, be as arbitrary as they are necessary. And yet, within this absurdity, there is a sense of shared experience and connection—the understanding that, in a way, we are all “Bob.” We are all trying to master the complex dance between conformity and autonomy, striving to find our place in a world that often feels out of control.

How do you describe this dance between conformity and autonomy?

Through minimalist yet expressive set design, repetitive synchronized movements, and subtle moments of breakdown, we capture the strange balance between the desire for order and the inevitability of disorder. Bob is portrayed as an embodiment of uniformity—his actions are often mechanical, as though programmed by the world he inhabits. Yet, within this rigid structure, moments of rebellion, confusion, and loss of control emerge, revealing the cracks in the façade of perfect conformity. So, there is a duality in his existence: he is both an active participant and a passive observer in his own life. His movements oscillate between precision and chaos, reflecting how we, as individuals, are both powerful and powerless within the systems we live in. At times, Bob appears to have complete control; his actions are deliberate, measured, and in sync with those around him. At other times, he loses himself in the mechanics of routine, swallowed by the very systems meant to support him.

Compared to I’m afraid to forget your smile, where you worked with six dancers, you are now creating for a group of sixteen. Does this influence your creative process, and if so, in what way?

Each creation process is naturally different and raises different questions about our approach. In I am Bob, we focus on the energy of the group and the collective. We are exploring ways in which the group can express something through their uniformity, rhythm, and gestures. Through the set design and music, we aim to create a trance-like state where the audience can fully engage with the dancers. This is a physically demanding piece, even for us, especially when the entire group moves simultaneously. There isn’t the possibility to keep track of everyone at once, and that constant pressure of deciding where to look can become overwhelming. On top of that, the dancers have to constantly think about counting their steps, which adds an extra layer of mental effort that we must consider and use productively in the choreography.

What can we expect from Amos Ben-Tal’s music?

Amos has been a longtime artistic collaborator. The composition for I am Bob is an interesting mix of digital and analog sounds, incorporating voice and text as well. Amos combines pre-recorded instrumental music, such as guitar, with metallic machine sounds and distorted voices. The focus is not on understanding the spoken words but on how the text functions rhythmically and evokes associations. Initially, there were more individual stories in the text, but we found that narrative too strong, so we zoomed out, allowing the dancers to respond more to the music. Along with the theme of repetition, the music plays with shifting rhythms, driving the choreography forward.

Do you ever have creative differences as a choreographic duo, and how do you resolve them?

Like in any relationship, you must remain open to dialogue and stay flexible. Communication and trust are crucial. There is no strict rulebook between us, but rather a collaborative approach that has developed over the years. Naturally, working together requires finding ways to manage the stress of the creative environment. Because of our family background, we know each other very well and are quick to respond to each other’s cues. Of course, we sometimes see things differently, but we try to give each other space to explore ideas and work toward a shared goal. Our approach has also changed now that we no longer dance ourselves but focus entirely on choreography. However, it can still be difficult to discuss a piece while we’re creating it because we only truly come to know it through the process itself.

What impact do you hope the piece will have on the audience?

The piece invites the audience to reflect on their own role in society. Aren’t we all “Bobs”? Don’t we all move anonymously through our lives in a sea of sameness, bound by expectations we didn’t create but still must fulfill? How much of our lives are truly within our control, and how much is dictated by invisible forces? In the end, the piece is about all of us. It is a portrait of the human spirit, which, despite the need for conformity, remains resilient, retains its sense of humor, and ultimately seeks freedom.