ARCAS 2020
Teatre Lliure | 2021
Teatros del Canal | 2022
Created by VVAA Collective. Clara Aguilar, Max Grosse Majench, Blai Juanet Sanagustín, Elena Martín Gimeno, Sandra Pujol, Alba Sáez, Marc Salicrú, Anna Serrano i Laura Weissmahr
Once upon a time, there was a cruise designed for all kinds of species and beings — souls with different tastes and socio-economic backgrounds. All were welcomed aboard this mystical vessel, which promised to keep them warm and dry during the announced universal flood.
Promotional photographies for Arcas 2020, VVAA Collective, Teatre Lliure. Eg of Material and Textile Experimentation · Found Materials
Created on a limited budget, with the majority of resources committed to the stage production. The brief called for hybrid animal-like figure, somewhere between fur, feathers and an undefined textured surface.
A camouflage net became the base for a cascade of knotted yarns, fibres and found materials, creating an irregular, layered surface without relying on purpose-made materials. Hair extensions were incorporated into the hair and costume, allowing the two to merge and extend the silhouette through movement.
VERTEBRAE'S AWAKENING X CLARAAGUILAR
CLARA AGUILAR music video. Film by Pol Rebaque within the play "ARCAS 2020" by VVAA Collective.
Movement Direction by Ester Guntín.
With Further development the suit was deliberately mapped asymmetrically to distort the movement of the body. During the performance, blackouts and contrasting areas of the costume made parts of the performer’s body appear to disappear, further disrupting the perception of movement.
The vertebrae back piece introduced an animalistic quality, which was later extended through additional padding on the thighs and arms. Wadding was used to build the volume and covered with leftover neoprene from the suits of other characters, taking the distortion further while reusing existing materials.
Development of the outer vertebrae leather piece. The pattern was developed using a combination of rough pattern-cutting techniques and moulage.
Pieces were initially drafted on paper and divided into a numbered series of lines across the back, which were then translated into individual leather pieces.
The leather was subsequently textured and painted. At the fitting stage, the performer was still wearing a black bodysuit.
Earlier stages of experimentation for Arcas 2020. Volumes were created using period undergarments, specific crinolines from the theatre’s wardrobe, and plastic to explore a submarine-like animal quality in performance. Battery-powered LEDs were added to introduce colour and light. This movement workshop led to further character development.
Fitting images showing further character development for ARCAS 2020. Boning and semi-transparent textiles were used to build a cage-like structure, creating a three-dimensional form designed to read symmetrically from different viewpoints. The intention was to incorporate a sheer silk outer layer, which could be projected with different colours to evoke the aquatic references, supported by the strategic placement of battery-powered LEDs within the underlying structure.
Fitting images and development of the XXL safety vests for the chorus. The vests were modular, with padded add-on sections creating variation and dynamism between the choral characters. They were subsequently distressed and painted to emulate rusted textures. The neoprene suits were also bespoke-made for each character, designed to withstand the presence of water on stage.
