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Inkonst

21–22/11
SATAN – Iggy Malmborg

SATAN is the story of a hero who tries to become a villain, but fails. Follow along on a bumpy road from a deeply Christian family in the Swedish countryside, through friendships, sins, and homelessness, to Inkonst’s stage. An homage to the ancient form of oral storytelling that brings the audience to far away places.

DATES: 21-22/11
DOORS: 18.30

ON STAGE 19.00
DURATION: 90 MIN
LANGUAGE: ENGLISH WITH
SWEDISH SURTITLES

 

In SATAN, Swedish actor and theatre maker Iggy Malmborg tells the supposedly true story of his short life and his problem in six chapters and a prologue. It’s a bumpy road that takes him from a deeply Christian family in the Swedish countryside, through friendships, sins, and homelessness, to INKONST. It unfolds as a story of a hero who tries to become a villain but fails. SATAN could be seen as an homage to the ancient form of oral storytelling, where a solo performer’s body and voice are the sole means to bring the audience to far away places. But at the same time something or someone lurks in the shadows….

SATAN is dedicated to the function of illusion. Illusion as a momentary, pleasurable escapism, but also as an elemental tool of creating stability and wholeness in reality itself. Whoever dedicates oneself to the subject of illusion must also talk about truth. In the cosmos of this piece, truth is an instance that reveals itself in a structure of fiction. Malmborg’s aesthetic style in his previous works is characterised by fragmentation and repetition. But in SATAN, he will for the first time tell a story with a beginning, a middle, and an end, in exactly that order. But what does it mean to tell a story, does this act ever go beyond the mere event of self-design?

BIO

Iggy Malmborg is a performance artist and actor based in Malmö. Although trained in traditional acting, his works span a wide range of aesthetics and styles – both in solo and collaborative work. Iggy Malmborg’s greatest artistic interest is to use performance as a model on which the discourse of the plays can be applied directly. Using strategies comparable to minimalism, he sheds light on the politics of theatre, as a hierarchical machine with (unconscious) patterns of inclusion and exclusion. Over the years, Malmborg’s works have gained international recognition and have been hailed for presenting a complex intellectual discourse in a concrete way, filled with humor and warmth.

CREDS

By and with: Iggy Malmborg
Dramaturgy: Johan Jönson
Light design: Ulrich Ruchlinski
Choreography: Sebastian Persson
Production manager: Elisabeth Carmen Gmeiner
Assistant: Agnes Stecher
Co-production: Schauspiel Leipzig, Frascati Theater and BIT Teatergarasjen
In collaboration with: Inkonst, Stamsund Teaterfestival, Reykjavík Dance Festival and Dansstationen

Supported by: Swedish arts grants commitee, Malmö City and Ammodo (Netherlands)