informació obra

Sergio Blanco
Sergio Blanco
Sergio Blanco
Gustavo Saffores i Bruno Pereyra
Laura Leifert, Sebastián Marrero
Laura Leifert, Sebastián Marrero
Laura Leifert, Sebastián Marrero
Miguel Grompone
Complot i FIT Cádiz
Estrena a Catalunya

Una gàbia que és una metàfora, una pista de bàsquet que sembla instal·lar-nos en un pati de presó, un ring de boxa, una cel·la mental, l’espai de confrontació entre un pare i un fill, la història d’un parricidi, la duresa d’un barri perifèric que en el bàsic connecta amb la Tebes grega. No és cap revisió contemporània d’un clàssic: n’és l’assimilació real, una obra que omple les paraules de ritme rabiós. Dos registres lingüístics, dues vides, diferents edats: una equació amb moltes incògnites per a un sol complot, el d’aquest autor a cavall de París i Uruguai, conegut al seu país com a actor cinematogràfic.

Crítica: Tebasland


Fantastic tense, twisted tragedy

per Alx Phillips

In this intense and engaging drama by Franco-Uruguayan playwright Sergio Blanco, Martín, a young man who has murdered his father, becomes a material resource for S, an earnest if self-important playwright-professor. The latter wants to make a play about parricide, a modern theatrical take on the Greek tragedy Oedipus; the former is enlisted as his informant and his leading actor.

They meet in a cage: the prison basketball court, where S gains Martín’s confidence and massages his own creative ego; taking notes, abstracting and idealising his subject matter, tweaking perceptions and perceived anomalies, adding a soundtrack, fabricating something poetic and suitable for the contemporary stage out of a case of extreme domestic abuse.

As the play is formed (and progresses), Martín fades into Fede: an actor employed to play his role. This, at the insistence of an interfering Ministry that gradually restricts Martín’s part. The paternal power game of intellectual superiority between playwright and prisoner is echoed in that of the boot-stamping paternalism of the State – a serial emailer with something to hide.

Superbly crafted, directed and acted, Tebas Land is a profound yet entertaining play about shifting perspectives, reality vs art, male relationships of control and desire. S’s interest in Martín walks a line between empathy and exploitation; Martín, his muse, realises his own physical and emotional power over the playwright. The exchanges between the men intensify towards the end, but remain ambiguous. Their parting embrace could mean anything and nothing.