• Circus

  • Music

  • Theater


By Compañía en el aire | Written and directed by Soraya Sepúlveda and César Parra


  • Spanish
  • 40 minutes
  • General Audience

Circus, puppets, theater and music come together in this piece to raise the audience’s awareness of the decades of feeling invisible and violence that the women of Ñuble have suffered.

De Saberes, de Luces y de Sombras is an interdisciplinary performing arts play that combines the world of puppets, dance, pop songs, poetry and contemporary circus. It’s a critical and constructive look at what it means to be from and live in Ñuble. It talks about its fertile land, the fusion between its Spanish and Mapuche heritage, how wisdom has been passed on over time and how women are the backbone of its identity.

History, however, has made women’s role in making the place what it is today invisible. That’s why this production aims to pay tribute to the women of Ñuble as creators, fighters, mothers and caregivers. It wants to recognize the women who have been murdered, disappeared, made invisible and looked down on and appreciate their strength, warmth, generosity and stubbornness. Even when everything is against them, this last trait reappears and reproduces like weeds.

De Saberes, de Luces y de Sombras is an invitation to take a look at ourselves, recognize who we are and find ourselves again in what we were, what we are and what we want to build.

Cast and crew

Directed by: Soraya Sepúlveda and César Parra | Performers: Daniela Marambio, pop singer; Soraya Sepúlveda, contemporary circus artist; César Parra, puppeteer | Lighting and sound technician: Cristóbal Reyes | Producer: Karen Zúñiga.

César Parra Gutiérrez


A career dedicated to new audiences

He began his theater career in 1996 at the Compañía Estable, part of the Student Federation at the University of Santiago de Chile. In 2001, he founded Teatro Vagabundo and embarked upon an important career teaching theater and percussion workshops at different institutions to children and young people from Ñuble. In 2016 and 2017, he did a residency in Córdoba, Argentina, specializing in glove puppets with the maestro Miguel Oyarzun Pérez. From 2008 to the present day, he’s been performing with and directing the puppet theater company Vagabundo, presenting shows for children in different educational institutions in Chile, Argentina, Spain, Ecuador, Colombia and Mexico, as well as at the Galicreques and Titirimundi Festivals in Spain, the Nortiteres Festival in Mexico, the Con Bombos y Platillos Festival in Ecuador, the Manuelucho Festival in Colombia and, in Argentina, the Winter Festival in Córdoba, the Mar del Plata Festival and El Cuyanito in Mendoza. He’s taken part in the Anímate Puppet Festival by Teatro Museo and the Surterra Festival in Chile, as well as in book fairs in Santiago de Chile and Guadalajara in Mexico.

Soraya Sepúlveda

Soraya Sepúlveda


She graduated from the El Circo del Mundo School in 2007, specializing in vertical aerial silks, wheel gymnastics and as an instructor of social circus. She’s worked on different projects in this area in Chile and Ecuador, honing her techniques in Canada in 2014 at the instructors’ training seminar run by the Cirque Du Soleil. As an aerial silks instructor, she aims to convey the multiple possibilities that this discipline offers. She’s developed a teaching method whose contents adapt depending on the capabilities of each participant, raising awareness of circus techniques as a tool for creation, not just as a bodily discipline. Her work as a creator is focused on giving circus techniques an expressive edge in order to transmit different content to the audience. She’s currently working on a project financed by a regional Fondart grant called ‘Stitching together a contemplation of our culture using circus art’.

-It’s visually appealing, with the action taking place under an arch six meters high, where the performers and puppets interact, creating their own theatrical style.

–Its includes an original soundtrack, with both live and recorded music.

–It uses different theatrical styles such as puppets and contemporary circus to raise the audience’s awareness of how women have been both made to feel invisible and treated violently over the course of Ñuble’s history.

New circus: Also called contemporary circus (nouveau cirque in French), this performing arts genre - developed in the middle of the twentieth century - is characterized, among other things, by basing itself on a story told through different circus acts and disciplines. The focus is on making an esthetic impact and on a performance that tells a story, sometimes using theater techniques as well.

Puppet theater: In the book Aproximación al teatro de títeres by Argentine puppeteer Juan Enrique Acuña, this genre is defined as ‘a group of artistic disciplines and techniques through which a specific kind of show is created, performed and organized, characterized by the use of certain expressive material elements’. Four different basic techniques are usually mentioned: stick, glove, shadow and either mobile or string puppets. All these forms have been improved upon by technological advances and experimentation. For example, there are now digital puppets and puppets with complex mechanisms that require several puppeteers.

On Instagram, @Soraya_en_la_tela | @companiaenelaire | @vagabundotiteres

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