Sobrenatural1/2007
Ángeles Ciscar
Bachelor in Fine Arts, sculptor, at the Universidad de San Carlos of Valencia. Studied theatre at the Jaques Leqoc’s International Theatre School; Set design at the Institut de Teatre of Barcelona. Member of the Companía Amaranto, with which she has created and performed the pieces: Marea baixa (2001), Tazón de sopa china y un tenedor (o hacer el gilipollas) (2004), Indignos (2006) and Four movements for survival (2007).
As set designer she has collaborated in theatre pieces such as Preludis, with Frederic Amat for the Gelabert-Azzopardi’s company and Hamlet Music Hall, based in a work of Heiner Müller for the Cia. Amaranto.
As pedagogue she has developed in different centres the project Dinámica del Espacio: Institut del Teatre from Barcelona, Sala Cuarta Pared from Madrid, The Architecture Superior School La Salle and the Architecture University from Barcelona.
As set designer she has collaborated in theatre pieces such as Preludis, with Frederic Amat for the Gelabert-Azzopardi’s company and Hamlet Music Hall, based in a work of Heiner Müller for the Cia. Amaranto.
As pedagogue she has developed in different centres the project Dinámica del Espacio: Institut del Teatre from Barcelona, Sala Cuarta Pared from Madrid, The Architecture Superior School La Salle and the Architecture University from Barcelona.
Máscara
Idea: Ángeles Ciscar
Script writing in collaboration with: Michel Parra
Edition: Tito de la Vega
Script writing in collaboration with: Michel Parra
Edition: Tito de la Vega
Máscara
From our centre, vision is constantly at work, drawing perceptive concentric circles, outlining the limits between circles. Through these limits we define what is and what is not related with us, what are we interested or not in seeing and which things are under our control and which slip out our hands.
But some times this set up suffers deformations which are impossible to ignore. A line from the most peripheral circle thickens to the point of invading the centre. The rubber was invented to solve these drawing accidents, although it’s impossible not to leave a blurry trace on the paper that signals the existence of that mistake.
But some times this set up suffers deformations which are impossible to ignore. A line from the most peripheral circle thickens to the point of invading the centre. The rubber was invented to solve these drawing accidents, although it’s impossible not to leave a blurry trace on the paper that signals the existence of that mistake.
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