1,2,3,4,6...PIECE FOR FOUR INTERPRETERS Live / 50min / 2014 /

Idea, artistic direction, video and sound: Vicent Gisbert /With the support of: L´estruch (Sabadell), Carme Teatre (Valencia), Genossenschaft Prinzenallee 58 (Berlin) / Thanks to: Teresa Villarroya and Marc Martínez /

This is a piece conceived as a game that provokes the public and invites you to participate in a constant manner. For this it affects in the thought processes that take place in the moment that one observes and listens to what happens on stage.

The work turns the scenic space into a participatory place, generating situations for the public to intervene not only through his eyes, involving them mentally and emotionally.

Issues arise from the unexpected, suggestive realities are promoted and the ability to relate and to project meanings, favoring this way that the outcome of the proposals do not depend only on the creator and the four interpreters.


- 4 to 6 March 2016. Carme Teatre. Valencia. Spain.
- 27 to 28 November 2015. Acker Stadt Palast. Berlin. Germany.
- 22 May 2015. Teatro Leal. La Laguna. Tenerife. Spain
- 20 to 22 June 2014. Dock11. Berlin. Germany.
- 5 to 8 June 2014. Carme Teatre. Valencia. Spain.
- 13 to 31 May 2014. Artistic Residence. L´estruch. Sabadell. Spain.

The image had always a leading role in all my works and is an element that characterizes my practice as a scenic artist. My desire to evolve as a creator through its use, leads me to think often about public participation in my pieces and how it relates to the images through his eyes.

I am concerned that this participation will become a surface action and little intense, with the eye as unique and principal protagonist. For this reason I created “ 1,2,3,4,6 ...piece for four interpreters” with the main objective of inviting the audience to participate constantly, generating situations to involve it mentally.

The piece has an impact on the processes of elaboration of thoughts that happen in the moment that we perceive , using for this purpose a serie of resources that I have defined.

One of them has to do with the expectations. Sometimes I present the information in a concret way to generate expectations based on the use of the repetitions, the power of the word and images which invite that occur a certain action. Once this expectation has been generated will happen sometimes something unexpected. What for? For what purpose?
- To confront the audience and that the questions arise in their minds.
- So that the result or parts of the outcome occurs in the mind of each.

I want the audience to strive translating their impressions to produce the final image.
I want to contribute in this way to break the barrier that often exists in scenic spaces between those who act and those who look, making the work not only a result of what I offer to the public, but also what each one contributes.

In others moments I´m looking for this mental involvement presenting an information which at the first moment makes no sense or is unfinished, and later I complete it and give a particular meaning to it. Creating some kind of maps of pictures and sounds that gradually will be defined, although always leaving space to free interpretation.

At the same time I selected and designed these sounds and pictures in a concret way. On one hand starting from the idea that the senses are not just transmitters of information for the judge of our intellect, but they are also working as a medium to activate and make our mind participating. On the other hand working with the intention to strengthen other sensory modalities from eyesight and sense of hearing, like tactile.

Sometimes I provide suggestive and unfocused images, allowing the viewer to create images in his mind from what he perceives. I invite him to question what is actually perceived and what the fruit of his imagination, fostering the mental participation that interested me so much. Favoring the use of peripheral vision facing the focused view.

Another fundamental resource that is very present in the work, is the use of sustained time. One of the conditions that currently favours the domain of the eye is the lack of temporality. Everything happens in our society so quickly that the sight is the only sense fast enough to follow the rhythm of our days. This speed causes as consequence that we live in a world flattened by simultaneity by the absence of differences.

To arrange a time and a sustained movement is essential to address this, in order to achieve a real participation of the viewer as an individual.

At times there are breaks without any movement or actions, for example in the rupture of the first expectation of the piece. It leaves the public after offering specific information, so it has the necessary time to intervene with the memory, the resoning or the imagination and to create his own questions and answers.
To connect with yourself.

With the support of