El Periférico de Objetos’ fourth project, Cámara Gesell (Gesell Dome) - refers to a space limited by a one-way mirror, of common use in Psychiatry and interrogations. Premiered at Teatro Babilonia, in 1994. The piece tells the story of Tomás, a boy under thorough surveillance. Thomas is a child within a family of objects. And thus, El Periférico’s dialectics become complete: objects rule the subject or, to reach a more complex discourse: objects become instruments of subjects (the manipulators) to exercise power over other subjects.
The performance takes place in a small space presenting multiple levels and traps through which objects and manipulators appear and disappear from the scene. So the set itself is yet another object-character that the audience sees being modified and employed in multiple ways according to the requirements of each scene, like a large dollhouse, where objects and their manipulators coexist. Although there’s no actual Gesell Dome mirror, the viewer situation is clearly obscene. Extremely close to the scene, almost inside of it, without being seen, they may see the characters’ intimacy.