was in Madrid from 1976 to 1983. I
returned to that same city from 1988 to 1993. Adding up, I have spent 12 years
of my life in Europe, and I say Europe - not Spain only- because, even if my
house was in Madrid, I worked not only in Spain but, I had the privilege to b
have my plays translated and performed in Italy, Germany, Sweden, Holland,
England and Switzerland. My
life in Spain had some distinctive moments: to arrive escaping from the
dictatorial state happening in Argentina. Arrive without work, penniless and
without the initial contacts made me have to struggle desperately - like anyone
else - for a job, a way to support myself.
a group of people from different theatrical backgrounds (acting, vocal and
corporal training, and dramaturgy) managed to open the Centro de Estudios
Teatrales (Center for Theatrical Studies), such opening was very much welcomed in Madrid. That school of theatre allowed me to
develop a very stimulant teaching activity, since the exchange of energy with
the new generations of Spanish playwrights was then, a very attractive proposal.
years of disorganized travelling, because whenever I had the chance, I would run
away in a little old car that I had
managed to acquire, to visit Europe: Paris, Rome, the South, and the North of
Spain, Germany. My thirst for travelling had unleashed and distances were so
short compared to the long kilometers of Argentina.
contacts in Germany were perhaps, the most solid ones and affective ones, since
I had the opportunity to join the Theater-Und Mediengesellschaft Lateinamerika
and Hedda Kage, Haidrum Alder, Katty Rotger were the base
and my contacts to meet Ray Guide Mertin, top of the line agent who
of my novels to two editorial houses, Para que se cumplan todos tus deseos
and Mater Erotica. I also opened my
plays in Germany, and that experience allowed me to confront the public, the
most demanding critics in the world, as Germany is undoubtedly, along with
England, the most solid country in theatrical matters.
realized that my plays had some
implicit restrictions: few characters, single props.
This called the attention of big German theaters that
had funds to big displays and a lot of actors, more props, unrestricted
productions. I believe that it was then when I became aware that Argentine
playwrights are always restricted to create an imaginary set that calls for few
actors and simple props.
would my theatre be without that restriction? How would the theatre of my
colleagues in Argentina be without that restriction? I have to admit that
several times, the display of characters and multiple props
was banal and even ostentatious, but I also felt the impact of societies
that bet for their culture, for their artists, for cultural transcendence, in
contrast of my country where one has to sweat things out.
was a big contrast to have to return in 1981 to inaugurate the first cycle of
Teatro Abierto. The richness of the experience acquired during that time had a
definitive impact in my professional career.
Abierto was more than a theatrical experience, it transcended the limits of a
specific phenomenon to later transform into an event of multiple significance
that quickened the demise of censorship in an Argentina still under military
rule until 1983.
someone who has left once and has felt the impact of translation, edition and
performance in other languages, it is a wide shock.
What ever was circumscribed to a local sphere, transformed into an
that internationalization was a solid base that still remains.
after trying to participate in the democratic government of the President Alfonsín
- which had awakened in me and others enormous expectations - I decided to
was a more comfortable option, I had lived outside the country for seven years
and I had plays performed and books edited in Europe. Sometimes, I feel that I
will never be able to completely return and that I will never be able to
completely leave, as if the experience of that long and productive 12 year
period outside of Argentina had marked me forever.