"Physics and Phantasma" devotes itself to the function, production and need of fantasy. To fantasize is a technical ability beyond good and evil. It is the setting for our desire and a necessary tool for us to become, what we call, whole subjects. At the same time the basis of any revolutionary potential and the foundation of racist prejudice. In the thinking of this piece, the phantasmatic is far most a defence mechanism enabling us to comprehend with the inconsistencies of the world.
The theatre is an empty space, just a silent framework in which we situate our pieces. It is that emptiness which allows us to put the laws of geography and time aside and travel anywhere at anytime. This nothingness is not only presupposed by us the audience; it is also, often, celebrated by us the makers. In “Physics and Phantasma” though, it is perceived as something deeply traumatic - a void that has to be filled, with anything(!) other than nothing, covered in a veil of fantasy. The piece intends to become that veil, to study its creation and how it is being put into play in-between the audience and performer.
Fantasizing is a language practice. Thus, Iggy Malmborg invites to a piece fully consisting of words (or the possible lack of them). With this new solo he explores a toned-down and less explanatory style than in the earlier works. The result is a piece that mainly takes place within the audience imagination, through affirmation of- or resistance against suggested motives; a phantasmatic imagery ranging from the most arbitrary kind to the darkest places of human imagination.
Iggy Malmborg (1987) is an actor and performance maker based in Malmö and Tallinn. Though a formation in traditional acting (the Theatre academy of Malmö) his pieces span over a wide range of aesthetics and styles, both solo and collaborative work. His main artistic interest is to use the performance event as a model onto which the pieces discourse directly can be applied. By using strategies that can be compared to minimalism, he sheds light on the politics of theatre and read it as a hierarchical machine with (unconscious) patterns of inclusion and exclusion.
He is currently touring with "b o n e r" (2014), "99 Words for Void" (duo with Maike Lond, 2015), "Physics and Phantasma" (2017) and "Things in my mouth" (2019). All which are made in close collaboration with Kanuti Gildi SAAL (Tallinn). The works have been presented in festivals and venues such as: Spielart (Münich), Baltic Circle (Helsinki), TnBA (Bordeaux), Baltoscandal (Rakvere), Auawirleben (Bern), Nanterre-Amandiers (Paris), FFT (Düsseldorf), Bastard Festival (Trondheim), Sophiensäle (Berlin), Staatstheater Nürnberg, Nowy Teatr (Warsaw), Palm Off Fest (Prague) and Dublin Theatre Festival.
Since 2009 he is collaborating with Johannes Schmit under the name White on White, during the season 17/18 they premiered “Fuck me ! (we didn’t make it)“ and "Tyskland" at Maxim Gorki Theater, Berlin.
NB! The performance contains explicit language that can be perceived as offensive and is not suitable for minors under the age of 18.
NB! The performance on March 26 will be followed by artist talk led by Anders Härm.
