2023-10-18 22:54:05
In the basement of the María Guerrero Theater, as in the house on Garay Street in Buenos Aires in the story El Aleph, by José Luis Borges, the possibility of other worlds has crept in, of another way of doing things, of another possible scene hitherto absent in the great public theater. To do this, Cris Blanco has summoned, with the best members of the theater that he has been producing since 2004, an entire generation that was told that this was not their place. The result is devastating. A pure theatrical comedy that breaks molds through the tools of science fiction and that, without acrimony, but with historical awareness, reads the primer to institutional theater where the norm often exceeds creation and budget over talent.
On stage we see Cris Blanco beginning to decide what to do in his new play. Fiction and reality are juxtaposed. A technician, Rocío Bello (who does an immense job), helps him with that coldness of a somewhat paternalistic and somewhat over-the-top civil servant. That is the situation posed by Cris Blanco’s new work, premiered this Wednesday, October 18, in the Princess room of the María Guerrero Theater of the National Dramatic Center, an artist with all the doubts she has trying to manage a production full of regulations. And in that process, Blanco will discover a small hole in the wall, a hole that will become a rotating black hole that attracts everything and swallows everything, a minimal sphere where the entire universe fits, “whose center is everywhere.” and the circumference in none”, which Borges himself would say with a mystical tone, a Kerr hole which will cause successive time loops and will end up transporting the protagonist to another time.
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