The Man Who Isn’t Thereis an online call on real time. An actress in a stage, and audience, communicating through skype with another actor, in Moscow, with audience. Two perspectives of the same story.
The Russian Ivan and the Portuguese Sofia don’t know each other on a live format, only through Internet. Maybe if she would know a bit of Russian and if he would know a bit of Portuguese, the communication would be better, but like this they will have to use the technologies that existe in the internet to talk to each other.
To the attraction for the unknown person, we normally add almost always the projection and idealisation, the themes of the performance. The work of the actors is done through the internet. The difficulty of the language barrier, the different timezones, the cultural differences, all result in an hybrid communication, exposing the different problems in the globalised world. The show is composed by the group of repetitions of their rendezvous and the fallibility of the internet comunications.
O Tio Vânia, de Tchekov, aparece pela necessidade de traduzir o zeitgeist inerente à história e o tipo de comunicação em que é investido. O espaço e o tempo são os primeiros elementos a sofrerem uma reorganização virtual, dando uma nova dimensão ao determinismo tchekoviano. Posteriormente os actores têm de alcançar a comédia e o espectáculo surge das projecções e suposições que cada um faz daquele que vê, daquilo que supõe que o outro é e a partir do que o outro está a dizer.
Because they didn’t know each other previously, the communication is happening in the performance space, creating several personalities: who they are, who they want to be and who they want to be for the others. The images that they show of one selves, the past that they invent to the other results in a mix between what it is and/or was and what is imagined.
We ceize to existe when we are online, we become a perception of the other: we access to the world of the other by a median via, and this image is only an add on the set of perceptions that compose the specificity of the virtual relations. Giving the available sign is to be available to no longer be ourselves and become someone else that, maybe, it’s not there.
With the support of Espaço CAPa, Russian Federation Embassy and Teatro da Garagem
Director | Lights | Costumes Patrícia Carreira
Dramaturgy | Statt Miller
Set Design | José Manuel Castanheira, com a colaboração de Marta do Vale, Francisco Moura Pinheiro, Inês Farmhouse Coimbra e Gonçalo Lopez Carvalho
Design | Mafalda Moreiro
Photography | Miguel Rodrigues
Vídeo | Víctor Jorge
Performers | Sofia Ferrão | Ivan Karpenko
Management | Miguel Maia
Thanks to | Pedro Flores, Guilherme Martins, André Almeida
A production Pata Filmes in colaboration with T0LX and Co.Theatre