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 Residenz theatre in Leipzig. It unfolds 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 characterized 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?
Iggy Malmborg lives in Malmö, Sweden. The pieces of the trained actor cover a wide range of aesthetics. Using minimalist means, he illuminates the politics of theatre, reading it as a hierarchical machine with (unconscious) patterns of inclusion and exclusion. In his works, he translates complex theory and artistic discourses into concrete performative events with great humor and warmth. Malmborg's works are widely acclaimed throughout Europe, and was visiting Leipzig in 2019 when his soloperformance ”Physics and Phantasma” was presented at LOFFT - Das Theater.
Performance in English language with German surtitles.