“Seeing Pavlovsky acting was the engine of the desire to be there, on stage, doing what he was doing. The theater is life attesting life and proposing constantly focusing on what is happening to us, that happened to us and that we believe it will happen to us,” says Maxi Sarramonewho returns with “Conveying tato ”, With texts of Eduardo Tato Pavlovsky, in his facet and work as a group psychotherapist and psychedramatist. Written by Rodrigo Cárdenas and Gabriela Villalonga, Sarramone It composes seven patients and to the same one Pavlovsky.
After two successful seasons, he returns to the Tadrón Theater, Niceto Vega 4802. At the end of each function the attendees are invited to a participatory (optional) proposal from the body and the word with whom they do the work. It is a tribute to everything lived and worked with Tato in their group sessions. From this Saturday, at 21. We talked with Sarramone.
Maxi Sarramone: The figure of Tato Pavlovsky is immense and covers several areas and several decades, is the history and present of the Argentine theater, but it is also Argentine political history, history of group psychotherapy, with focus on psychedrama, and all with absolute impact currently in our current 2025. It is impossible to think about the most significant works of Argentine theater, without “power” being part of that list. But I think that personally, what Tato represents is the actor absolutely alive on stage, seeing him to act to Pavlovsky, it was at the time for me that he studied theater, a class of action, the authority and vitality with which he acted the works was the engine of the desire to be there, on stage, doing what he was doing.
MS: We are lucky to be able to know the public’s perceptions since in the previous season and in the current one, we held a meeting where these resonances share from the work. There is a text fragment, which is originally from the work “Red Red Balloons” that speaks of the deterioration of a person, who is put in the voice of a former athlete who feels aging, which is very sensitive and plays with a lot of humor and tenderness, then impacts. There is another text that says “we live in an era, dominated by social cruelty and extreme individualism …” and that text was resignified from our premiere in 2021 leaving little by little from the pandemic to today, where violence is legitimized and is used as current currency when discussing ideas in networks and media. There are many texts in the work with which the public is moved. There is talk of an open heart operation, with humor as a leak that allows us not to be captured in that fear
Q.: The unipersonal multiply where an actor plays multiple characters, “chanta”, “exhausted”, “soft”, “Macbeth Operation” and the list continues. This also goes in that line, how will you face it and how is the challenge?
MS: When the work came to me, it was the first thing I asked Gabriela Villalonga, director and co -author along with Rodrigo Cárdenas why a single -person, being a work of 9 characters, of which 4 are female characters? And why me? The truth is that I do not know if it is a trend, in this work it is absolutely justified by the dramaturgy and the concept of “becoming” since the work raises a subjective look of a patient of the psychedrama session coordinated by Pavlovsky and as that lived it became part of it becoming its personality, the significant people in our life, they become part of us and we arise intuitively from that interaction. A “becoming” also our environment influences, several of the works you mention, such as Macbeth room, was also tested in full pandemic as “becoming tato” there was an instinct of survival of the theater, in the midst of that uncertainty, a vital drive of the artists where the unipersonal was possible.
Q.: What difference does it appear between psychodrama and psychoanalysis?
MS: I am very far from being an expert in this area, but I can tell you some things that I learned from those who do. In principle, the obvious of the group, the multiple in contrast to the office and the interaction of two. The psychedrama proposes the resonance of the group from the playful and the scenic, a patient counts something, a problem, a memory, an anecdote, and the group coordinated by the therapist, resonate from multiple scenes to what one of them brought, of that living, playful experience and with multiple subjectivities interacting with an individual situation, disarms the original and rearm it again, allows the escape to rearm it, it allows it to rearm it, it allows it to rear. Individual capture in the group resignified. In the work this system is seen, you live.
Q.: Themes appear in relation to old age, bodies, their conditions, open heart surgery. How are they addressed and what other topics underlie?
MS: All issues are addressed from emotion, from need, from group empathy and with a huge generosity of knowing that there is no single response to these issues, nor is there a single way of living them. Fears and desires cannot be measured or standardized. Individualism proposes personal standards and objectives to be along with others, to meet and be well, the group proposes coexistence with the difference and the different times to travel each topic. The work proposes a meeting, a circular ritual, where patients and the therapist are convened to “babble.” From that “babbling” the issues on which the group will dramatize and multiply, loneliness, fear of death, the fear of aging, fear of others’ gaze, concrete work problems begin to detach.
Q.: Works such as power are covered. Red red balloons, cobwebs, “Mr. Galíndez”, “Balbucent texts”, what can you point out about them?
MS: These emblematic texts of Pavlovsky Dramaturg, become functional to Pavlovsky Psychodramatist, the texts are deteritorialized from their original works to territorialize again in this new work. That represents in itself, the poetic nucleus of what is “devining tato” nobody who sees it will see power, cobwebs, etc., but it will resonate with its texts, dramaturgy is combined with dramatic multiplication. For those who are very close to these materials, the work takes on another relief, but the rich is that it is not necessary to know them, not even know Tato or their work, to enjoy this work.
Q.: What can we say about the validity of Tato today in this context of the country around culture and theater?
MS: The validity of the theater is a constant question in us, everything happens, something remains and the theater is still here. The theater is a tree with infinite very deep roots that continues to bear fruit of various flavors and colors. In that sense, thinking about our time and focusing on our territory is to look for our voice from here and now, theater. It is not a novelty that you can water, take care, multiply or can try to cut it, set it on, kill it, as it seems to be the intention of some governments like the current one. But we are many and many who will continue to water the tree and who will continue to enjoy their fruits. Pavlovsky spoke of resistance, the resistance of micropolitics in the form of cultural and social experiences that resist the attempt of alignment and individualism, sometimes resist by the edges as Tato said, sometimes going through us fully as a society and individuals.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
