Logo con texto "museo moderno"
Logo con las palabras escritas buenos aires ciudad
HACETE AMIGO!
Víctor García (San Miguel de Tucumán, 1934 – Paris, France, 1982) was a genius who split the history of contemporary theatre in two. As Fernando Arrabal has remarked, ‘The revolution in modern theatre was not made by Artaud, for all his merits, but by the Tucumán-born Víctor García.’ The monumental scale of his mises-en-scène reconfigured the roles of spectator, theatre building and actor, sending a shockwave through the Western theatre and changing the nature of theatre forever. García’s remarkable talent is evident in the hangar of car chassis mounted high above the stage in El cementerio de automóviles [Car Cemetery] (1966), the sloping stage that unsettles the actors in The Maids (1969), the 25-by-20-metre metal cylinder in The Balcony (1969) or the elastic tarpaulin that upends the actors in Yerma [Barren] (1971). His collaborations with Anthony Hopkins, Lawrence Olivier, Nuria Espert, Ruth Escobar and Fernando Arrabal are memorable. Although two of his productions were staged in Buenos Aires – at the Astral Theatre and the now defunct Odeon Theatre – García remains something of a secret in Argentinian theatre. Thanks to the collaboration of the Tucumán researcher Juan Carlos Malcún, who has shared his archive with the Museo Moderno, García is a secret that can now be revealed to our public. ‘He was like a destructive flame that renewed everything,’ remarked the great Spanish actress Nuria Espert. Víctor García died in August 1982, aged 48, and spent his last nights sleeping rough in the Paris Métro.