Performance | Arte sonoro
Directed by: Soledad Gaspar | Script by: Auka | Performer: Héctor Morales | Sound: Damián Noguera | Audiovisual editing and photography: Gomar Fernández.
Soledad Gaspar Abraham
Director
The performing arts in multiple different formats
Graduating in Communications from the Diego Portales University and in Acting from the Fernando González Theater Club, she also studied dance at the Espiral Center. She has worked as a casting director for film on national productions such as Bonsái by Cristián Jiménez, El Futuro by Alicia Scherson, De jueves a domingo by Dominga Sotomayor, Mapa para conversar by Constanza Fernández, Paseo by Sergio Castro and Manuel de Rivera by Christopher Murray. In 2011, she was a cast member for the play El año en que nací, directed by Argentine Lola Arias. This play toured internationally multiple times between 2012 and 2017, taking part in different festivals and performances such as Under the Radar (New York City), the Museum of Contemporary Art (Chicago), the Lift Festival (London), Sens Interdits (Lyon) and the Brut-Theater (Vienna). She directed her first theater play, ANARKO, in 2018, which premiered at the Agustín Siré venue at the University of Chile and had a second run at the Teatro del Puente. In 2019, she directed KASSANDRA, with a script written by award-winning Uruguayan playwright Sergio Blanco. In January 2020, she was a cast member of La condición humana by Argentine director Lisandro Rodríguez. In December 2020, she directed NIEBLA, whose script was written by Isidora Stevenson and which was presented virtually at the Finis Terrae venue. As well as her work in theater, she has created interventions such as Presente (2011), Centenials (2017) and Lápices (2021). She currently works as a teacher at the Arcos Institute’s Film School and at the Uniacc University’s Faculty of Arts and Communication
Auka
El dramaturgo
Interés por la performance
-It is a novel piece, taking the audience on a journey through the mind of a non-human being - a misfit - who insists on trying to fit in even though they do not understand the world that surrounds them at all. Art, solitude, isolation, the margins, abuse and love are all summed up in this production.
-The piece plays with different esthetic styles and media platforms, with an audio message that can be listened to on an improvised journey that merges with the large-scale projections of images and virtual reality using QR codes. It can also be watched digitally from each spectator’s home (in any city) via links to access the play, with images projected using virtual reality.
—Performance: In this avant-garde artistic style, the play’s medium is the artist’s body and the play itself is the action used to convey this, normally through a combination of multiple elements, such as the visual arts, music, dance and theater. It is one of the artistic styles that transformed art in the mid-twentieth century.
On Instagram, @soledadgaspar | @aukaperformance | @damiannoguera | @hectormorals | @mapping4food
On Twitter, @hectormorals| @soledadgaspar
COLABORA
Mi corazón duele de solo pronunciar su nombre
By Auka | Directed by Soledad Gaspar
- Chile
- Spanish
- 25 minutes
- + 15 años
In this multidisciplinary virtual journey, a non-human being tells of their mishaps during the pandemic.
Mi corazón duele de solo pronunciar su nombre is a theater play with actors who have no physical bodies and no fixed abode. A journey takes place between Tomé and another city abandoned during the pandemic. Only one voice is heard - that of a non-human being who tells of their mishaps in the past and during confinement - and certain images are projected onto the cement, buildings and streets. On this journey, we listen to an audio message of someone talking to Ana, who we never see or hear. This is a contemporary play that talks about being on the margins and about love, art, abuse and the tenderness of a being who seems not to understand humanity at all. Both harsh and ruthless, it is written humorously and thoughtfully by Héctor Morales in an attempt to make the invisible visible.
MCDDSPSN has two formats. One involves virtual reality and the spectator listening to an audio recording, with images projected onto their path. The other, held in person, involves the audience listening to the audio recording on their own devices, looking at images projected throughout the city on a journey without a set route.
Mi corazón duele de solo pronunciar su nombre
By Auka | Directed by Soledad Gaspar
- Chile
- Spanish
- 25 minutes
- + 15 años
In this multidisciplinary virtual journey, a non-human being tells of their mishaps during the pandemic.
Mi corazón duele de solo pronunciar su nombre is a theater play with actors who have no physical bodies and no fixed abode. A journey takes place between Tomé and another city abandoned during the pandemic. Only one voice is heard - that of a non-human being who tells of their mishaps in the past and during confinement - and certain images are projected onto the cement, buildings and streets. On this journey, we listen to an audio message of someone talking to Ana, who we never see or hear. This is a contemporary play that talks about being on the margins and about love, art, abuse and the tenderness of a being who seems not to understand humanity at all. Both harsh and ruthless, it is written humorously and thoughtfully by Héctor Morales in an attempt to make the invisible visible.
MCDDSPSN has two formats. One involves virtual reality and the spectator listening to an audio recording, with images projected onto their path. The other, held in person, involves the audience listening to the audio recording on their own devices, looking at images projected throughout the city on a journey without a set route.
Directed by: Soledad Gaspar | Script by: Auka | Performer: Héctor Morales | Sound: Damián Noguera | Audiovisual editing and photography: Gomar Fernández.
Soledad Gaspar Abraham
Director
The performing arts in multiple different formats
Graduating in Communications from the Diego Portales University and in Acting from the Fernando González Theater Club, she also studied dance at the Espiral Center. She has worked as a casting director for film on national productions such as Bonsái by Cristián Jiménez, El Futuro by Alicia Scherson, De jueves a domingo by Dominga Sotomayor, Mapa para conversar by Constanza Fernández, Paseo by Sergio Castro and Manuel de Rivera by Christopher Murray. In 2011, she was a cast member for the play El año en que nací, directed by Argentine Lola Arias. This play toured internationally multiple times between 2012 and 2017, taking part in different festivals and performances such as Under the Radar (New York City), the Museum of Contemporary Art (Chicago), the Lift Festival (London), Sens Interdits (Lyon) and the Brut-Theater (Vienna). She directed her first theater play, ANARKO, in 2018, which premiered at the Agustín Siré venue at the University of Chile and had a second run at the Teatro del Puente. In 2019, she directed KASSANDRA, with a script written by award-winning Uruguayan playwright Sergio Blanco. In January 2020, she was a cast member of La condición humana by Argentine director Lisandro Rodríguez. In December 2020, she directed NIEBLA, whose script was written by Isidora Stevenson and which was presented virtually at the Finis Terrae venue. As well as her work in theater, she has created interventions such as Presente (2011), Centenials (2017) and Lápices (2021). She currently works as a teacher at the Arcos Institute’s Film School and at the Uniacc University’s Faculty of Arts and Communication
Auka
El dramaturgo
Interés por la performance
-It is a novel piece, taking the audience on a journey through the mind of a non-human being - a misfit - who insists on trying to fit in even though they do not understand the world that surrounds them at all. Art, solitude, isolation, the margins, abuse and love are all summed up in this production.
-The piece plays with different esthetic styles and media platforms, with an audio message that can be listened to on an improvised journey that merges with the large-scale projections of images and virtual reality using QR codes. It can also be watched digitally from each spectator’s home (in any city) via links to access the play, with images projected using virtual reality.
—Performance: In this avant-garde artistic style, the play’s medium is the artist’s body and the play itself is the action used to convey this, normally through a combination of multiple elements, such as the visual arts, music, dance and theater. It is one of the artistic styles that transformed art in the mid-twentieth century.
On Instagram, @soledadgaspar | @aukaperformance | @damiannoguera | @hectormorals | @mapping4food
On Twitter, @hectormorals| @soledadgaspar
COLABORA