Mariano Tenconi Blanco: “We live in a country where artists were declared enemies of the Government. It is terrifying”

Mariano Tenconi Blanco: “We live in a country where artists were declared enemies of the Government. It is terrifying”

“I like that about love as a writing that is done in two, or three, or however many people love each other. “The idea of ​​creating a world with another person, a world full of words, signs, memories, ideas,” says the playwright and director Mariano Tenconi Blanco in around “I want to say I love you,” the play that returns tomorrow to the El Picadero theater with performances by Violeta Urtizberea and Lucia Adúriz.

The work is a tribute to love, literature, passion, mythical love, impossible love. It appeals to the genre of the intimate diary and love letters, to produce a language exclusively for these two people, who believe that there is no love without language and that you cannot love without saying “I love you.” We talk with White Tenconi.

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Mariano Tenconi Blanco, playwright and director.

Journalist: You make series of which three works are part, in this case “The intimate genres”, what did you want to explore?

Mariano Tenconi Blanco: In the works that we bring together under the concept of “The intimate genres” (The extraordinary life and I want to say I love you on poster in Buenos Aires and The ghost woman on poster at the National Dramatic Center in Madrid) there is a work that aims to link the so-called literature of intimacy (letters, diaries, confessions) with theater, stripping these genres of all their theatricality. I think that awareness about a series or saga comes later. In principle, these are procedures that I consider fertile for writing, and to which I return.

Q.: You tell a beautiful story about two women who write to each other, one pretending to be another. The epistolary that literature explored so much, what can you say about the letters and intimate diary genre? The letters that arrive, that do not arrive, hidden letters, burned letters….

MTB: In theater, it is usually the most traditional thing for the time of the fiction to be the time of the play, for example we see a fifty-minute therapy session and the play lasts fifty minutes. With the letter and the diary I can display these lives, their emotions, their sensations, over an extended period of time. Likewise, I can also betray the spatial. In the theater, a set is usually set up, which is the place where the play takes place, following my example in the psychoanalyst’s office. Using the letter or the diary, the spatial theme also remains in a more ambiguous and interesting place. That is why I have found in these resources the possibility of expanding the potential of theater, from the narrative but also from the emotional.

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Q: How does this woman fall in love with the savior man? Why do you fall in love?

MTB: I don’t know if love has an explanation. Don’t know. Surely not, and let’s try to give it one. It’s like Faith. It’s a form of Faith, one of the most sacred. I think the character sees a man saving the victims of a car accident (or at least she believes that the man, the doctor, is saving people) and there she falls in love. He falls in love with a hero. It’s quite Greek, I think. I can understand her. I myself am in love with a person who works saving people.

Q: How do you work on the stage and the setting?

MTB: I work a lot as a team. With my colleagues from Teatro Futuro, Caro Castro and Ian Shifres, with the set designer Rodríguez Garillo and the illuminator Sendón, with the movement designer Jazmín Titiunik; and obviously, with the actresses. I usually have a clear idea of ​​the tone I want to give, but we listen to each other, testing each other, even in I want to say I love you I have rewritten scenes after we talked with Violeta and Lucía, we thought it would be good to try this or that.

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Q: You say that there can be no love without language and without saying I love you, how is that?

MTB: Well, I’m not saying it, the characters are saying it. I don’t know if I agree with the characters hahaha. But I do believe that the work is a tribute to love and language, to feelings and writing, and to the idea that we love to write, and we write to love. Some of that is in the work, surely. I think the private universe that love builds is very powerful.

Q.: How do you see Argentine theater in the world context or what you know from Europe or Latin America?

MTB: I always see Argentine theater very well. I think that the artists of our country continue to do very well. In the Río de la Plata a wonderful tradition has been founded where everything is profound, intelligent and full of references but, at the same time, we never take ourselves so seriously. That is in Hernández, Mansilla, Borges, Aira, Sara Gallardo, Mauricio Kartún or Romina Paula.

Source: Ambito

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