• Theater

  • Performance


By Lado B


  • Spanish
  • 90 minutes
  • +18

An experience about a new geography transcended to to be together and close in a world that imposes more and more political, social and cultural distances on us.

Ciudad invisible is an experience for four people at a time; a traveling play that aims to connect us with our personal and collective memories of what we’ve gone through in the city, as well as its past, present and how it moves. It’s an intimate piece of immersion theater held in public. Using a mobile phone, the participants keep up a conversation with a stranger who lives in a different city. They walk through the streets with them, visiting different places: a corner, a square, a supermarket. During this hour and a half, the idea is to recreate the sensation of leaving behind what is safe, to slow down time and to broaden our experience of the city.

Cast and crew

Creative and production team: Jimena Ríos, Karen Halty, Paola Larrama, Victoria Pereira, José Ferraro, Florencia Lindner.

Lado B

Lado B

A walk on the wild side

This interdisciplinary group works to construct practices and devices that put the links between digital art, living art, reality and fiction to the test. Their research aims to put an end to the esthetic divisions of author-centric styles and, at the same time, to experiment and produce new forms of poetic and theatrical searches, practices and creation as a result of collaboration. The group’s members are José Ferraro, Karen Halty, Paola Larrama, Victoria Pereira, Jimena Ríos and Florencia Lindner.

—It’s a play whose ‘script’ is created at the same time the experience occurs; the piece is based on mobile phone conversations. Each part of the piece influences the next, making it completely spontaneous.

—It aims to make the urban experience less alienating, since it takes place in the same city we live in and on the same streets and corners we pass without a second glance because we’re so used to them. In the words of Russian formalist Víctor Shklovski, for life to appear again as a “singular experience”, it must be intervened by art that “frees the object from its perceptive automatism”.

—Lado B brings together important figures from Uruguayan theater, such as Florencia Lindner and Jimena Ríos, up-and-coming artists whose piece Experimentos con la verdad won awards in the visual arts, performance, video and sound categories in 2019-2020. At the same time, Ríos was co-curator of the Prison to Prison project, Uruguay’s official entry at the sixteenth version of the Venice Architectural Biennale in 2018. Paola Larrama, for her part, won the Florencio award for Best Actress in children’s theater.

Performance: An avant-garde art form in which the play’s medium is the artist’s body and the play itself is made up of the actions this carries out, normally combined with multiple other elements such as the visual arts, music, dance and theater. It’s one of the art forms that transformed art in the middle of the twentieth century.

Interactive theater: This is a new way of understanding dramatization, with what happens being decided by the audience. It leaves behind a lineal narrative, with the once-passive audience taking on a more active role similar to role playing. New cultural products come together, combining the analogical with the digital, in a crossover that is ever more blended. According to Tom Mustroph, Brazilian playwright Augusto Boal was one of the first people to use this form in his plays in shanty towns, with the audience getting onto the stage to explain to the actors how they should play out a scene.

—Take a look at the2021's trailer of Ciudad Invisible.

—Watch Florencia Linder’s interview on the El lugar del espectador program with her peers Pau Pons and Alberto Sejas.

Supported by

You might like