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.

With
ANA ALVARADO
EMILIO GARCÍA WEHBI
ROMÁN LAMAS
LAURA YUSEM

Off voice
ALBERTO SEGADO

Text
DANIEL VERONESE
Assistant to the director
MAGDALENA VIGGIANI
Sound
CLAUDIO KOREMBLIT
Set
NORBERTO LAINO
Space and set design
EL PERIFÉRICO DE OBJETOS
Lighting
JORGE DOLISZNIAK
Directed by
EMILIO GARCÍA WEHBI
DANIEL VERONESE


Teatro Babilonia, Buenos Aires, Argentina, 2004.

Fotos Magdalena Viggiani