Entre el teatro de objetos y el teatro de actores

Una lectura intermedial de los primeros espectáculos de El Periférico de Objetos

Abstract

The scenic research of El Periférico de Objetos is aligned with the quest for an off-center or border aesthetic. It’s this acceptation of the peripheral as a border, the bare bone to test an approach that focuses on a possible combination between Object Theatre and Actor Theatre; an approach from an intermedial perspective that allows us to organize its trajectory from an original regard.

In order to do so, we argue that the overlapping of subjects and objects, that will acquire new modalities in each of the shows, is the formal synthesis of the superposition between Object Theatre and Actor Theatre, key to a peripheral aesthetic. We will analyze the procedures that this group has rehearsed to shape this subject/object overlap, focusing on three shows and looking at the different bodies and materialities seen on stage, the manipulation and the meanings that they produce: El hombre de arena (1992), Cámara Gesell (1994) and Máquina Hamlet (1995).