t4/ IBÁÑEZ/ SERGIO BORIS

Ibáñez suspects that his girlfriend is going to abandon him and that they will also throw him out of the warehouse where he works: he went blind a week ago. Dazed and desperate to get back faith, he arrives at a club for the blind that nobody has attended for a long time. There, Sosa -blind from birth- and Romero -blind for fifteen years- resist like ghostly echoes of a groggy and sinister existence. Everything changed. Braille is difficult to accept and the past deceives. "Blind I have been created, not deprived of something, but endowed with blindness." Toasting for a plan that will save him, Ibáñez throws himself into the voice of betrayal.

ABOUT THE WAY OF TELLING:

Ibáñez was born from two needs. One: the desire to generate some kind of theatricality, despite all the conditioning that the plague introduced into the scene. And the other: the possibility of creating a new work based on La Bohemia, released in 2001. A first approach was made, under the spanish protocols for the FIT of Cádiz, November 2020. The world of these three blind characters returned to us to question.

The work process began when we came across a procedure, which appeared at the COVID19 limit, which opened the door for us to transform that work. To change the perspective, the focus, seeing the scene from the blind eyes of Ibáñez, one of the three characters. And it was the procedure itself that began to ask us for changes, modifications, new moments, deepening, in an organic and dramatic way, in a nucleus that had not appeared before: the ghostly. That is why we say that Ibáñez is a mutation.

About the procedure: An actor on stage who connects with voices. A character -Ibáñez- who, due to his recent blindness, assumes that these voices are characters of flesh and blood. Of the other two - Sosa and Romero - only their voices and the sounds they make with objects are heard. To achieve this, these voices were recorded and mixed under the 5.1 audio system, which generates a spatial dynamics of sound as if the bodies were moving in the scene. An actor in person, but at the same time, three characters in connection.

And the questions came: are the voices ghosts that are in Ibáñez's head or outside of it? Is it Ibáñez who, realizing that he no longer has anything that awaits him in the real world, needs to affirm that ghostly world? Is Ibáñez someone who finally feels that they are only ghosts and yet bets? And finally: is Ibáñez the audience that has gone blind because they cannot see the characters and only hear them, like him?

 

 

CREW:

Duration: 65´

Cast: Sebastián Mogordoy, Darío Levy (Voice), Martín Kahan (Voice)

Stage Design and Costume: Gabriela A. Fernández

Light Design: Matías Sendón  

Sound Design: Mariano Palmadessa

Sound Studio: El cono del silencio

Production Assistant: Carolina André

Photograph: Sofía Ciravegna  

Producers: Maxime Seugé y Jonathan Zak

Artistic Assistance: Adrian Silber

Dramaturgy and Direction: Sergio Boris 

 

 

Sergio boris
Actor, director, playwright and teacher.

Works as a director and playwright:

Artaud began its sixth season in 2020 at the Timbre 4 theater in Buenos Aires. In 2019 he participated in the Buenos Aires International Theater Festival (FIBA), at the CDN Aubervilliers in Paris and the Madrid Autumn Festival. It was organized by the MIT Festival of São Paulo and the Ibero-American Festival of Porto.

Viejo, solo y puto performed seven seasons in Buenos Aires at the Callejón, Beckett and Timbre4 theaters. He won the Getea award for Best Direction (2013), Best Actor and Best Space. Participated in festivals and seasons in Montpellier, Bordeaux, Lille, Kunstenfestival in Brussels, Kauze Festival in Rotterdam, Girona high season, Garonne Theater in Toulouse, Theater La Commune Aubervillers in Paris, Dinner Festival in Rio de Janeiro, Teatro Solís in Montevideo, Teatro Central in Sevilla, Scene Nationale du Pays de Montbeliard, CDN in Madrid (2016), Teatro María Matos and Teatro Rivoli (Portugal, 2017) and Festival of Arts Scenic (Lima, 2018).

El Syndrome was made with students from the École Supérieure de Théâtre Bordeaux Aquitaine and presented at the Avignon Festival (2015).

El sabor de la derrota was presented at the Teatro Gral. San Martín (2004), Espacio Callejón (2005). Buenos Aires International Festival (FIBA) and San Martín de los Andes Summer Festival.

El cadáver de un recuerdo enterrado vivo and El perpetuo socorro were created together with IUNA graduates. El cadáver de un recuerdo enterrado vivo was presented in Blumenau and Belo Horizonte, obtaining the First Prize (2007) in the latter destination.

La Bohemia won the First Prize of the National Dramaturgy Contest of the National Fund of the Arts (1998), Prize for the stimulus of artistic quality National Theater Institute, Trinidad Guevara Revelation Prize for Directing (2002) and First Prize for the World Theater (2001 / 2002) to the Direction and the Dramaturgy. He carried out three years of functions in Buenos Aires. He participated in FIBA ​​(2003), Festival of Manta, Guayaquil, Quito, Curitiba, Londrina and San Martín de los Andes.

As an actor, he participated in the plays El pecado que no se puede nombrar and La pesca, directed by Ricardo Bartis. Un enemigo del pueblo directed by Sergio Renán, at the Teatro Gral. San Martín. El pan de la locura directed by Luciano Suardi at the Teatro Regio of the Teatro Gral. San Martín and En al alto para siempre by Camila Fabbri and Eugenia Pérez Tomas, at the Teatro Nacional Cervantes, among others.
Jobs as an actor in films:
In cinema he acted in Diablo by Nicanor Loreti, Lumpen by Luis Zembrowski, Mientras tanto by Diego Lerman and El abrazo partido by Daniel Burman, among others.

As a teacher, he gives annual workshops and intensive seminars in Argentina. And abroad: Rio de Janeiro Festival, National Dramatic Center (Madrid), Border Theater and Umbral de Primavera (Madrid), La Abadía Theater (Madrid), Rivoli Theater in the city of Porto, Transdrama (Mexico), International Festival of Performing Arts of Montevideo (FIDAE), Theater La Commune de Aubervilliers in Paris.