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Tamara Ascanio

She is researcher and scenic creator, performer and singer. Degree in art Dramatics by the ESAD of Asturias (2010), Master in stage and visual culture praxis (MPECV) by the UAH and ARTEA (2013, Madrid). Since 2003 participates as an actress in many theatrical projects of various kinds. In 2012 he began his career as a performer in the part Untitlted, Still Life by Ana Borralho & João Galante in the contemporary scene Festival (Madrid) and the Transeuropa Festival (Germany). That same year he studied the MPECV, focused on the creation and contemporary stage research. In the Master develops Zoom, her first piece as creator. In 2014 takes part in the expanded Theater Seminar programmed by ARTEA based in MNCARS (Museo Nacional Centro de Arte Reina Sofía). The seminar meets Mariona Naudin and Marta Batisttella, collaboratively create live kitchen piece, premiered in Madrid in 2014. That same year is selected in the program artists in residence offering La Casa Encendida together with the Centro de Arte Dos de may (CA2M). In this residence is brewing the voice clear. At the end of 2014 it decides to return to Tenerife and deepen his facet as a singer. He began his project of musical composition Patua along with other musicians resident in the island. In 2016 participates in the setting of the Miniresidencias 3’33 Leal-Lav where takes the stage creation and research project the voice clear. She currently combines her projects with music composition and improvisation projects. Her stage research is characterized by browsing the experience of estrangement in the hidden territory of our everyday reality and its fascination. Loving a slow temporality that expands, necessary to optimize our perception and deepen it. Silence and real time sound composition have a deep presence in her work.


The transparent voice

The image is done where the effect of surprise is, says Brecht, which, while it allows us to recognize the object, makes it seem strange and foreign (…), able at all to designate something else and, under the familiar, unusual and, in what is, so it might not be. Didi-Huberman, cited when images take position.

Let’s imagine that we have a tree opposite our House. Normally, if we do not pay real attention, we will see the same tree every day, but this is changing constantly. Do we stay in a kind of perception that will allow us to grasp the multiplicity of realities present in every being, object, event or situation? Can we give us the freedom to observe the hidden territory who lives in every event of our daily life, to welcome the unknown?

 The transparent voice is a scenic device designed to give rise to an experience in which the spectator is related to these reflections. A research and development stage project which is in its final phase of development and in which the body of Tamara Ascanio is the most visible, creating a soundtrack in real time by manipulating rolls of adhesive tape, which plays to find different sound textures.