Buenos Aires

It's not as if you won't notice after reading even a little of this post, but I love Buenos Aires. I love that there are lots of independent theaters and art galleries and cafes with live music. Bookstores abound and they even sell books at newspaper stands. Not just pulp novels, but Borges, Cortázar, Saramago, García Márquez. You can go to a milonga in San Telmo or Palermo or Almagro and dance tango until dawn, wander the streets of Recoleta and gawk at the luxurious homes and shops, buy mouthwatering choripan from street vendors in Puerto Madero for the price of a coffee back home, gorge yourself on steak in restaurants both pricey and cheap, sip a glass of house wine that sells for less than a bottle of Coca-Cola, picnic in the parks in Palermo, visit the Japanese gardens, or simply sit in one of the ubiquitous resto-bars that grace what seems like every street corner and watch the people walk by. Just thinking about empanadas for lunch, facturas and yerba mate at 5:00 with friends and a late dinner makes me want to get on a plane right now and head further south. Ok, that's me waxing a bit poetic. Like I said, I love Buenos Aires. Say what you like about ridiculously enormous cities, the crowds, the smell, the noise, the traffic, the pollution, the crime, but I would still jump at any opportunity that comes my way to spend a little more time in Buenos Aires.

I'm not really sure where to start with this part of my travels. This blog has been neglected of late, I know, and any kind of chronological order has been shot to hell. So maybe an episodic approach might be a better tack to choose. So for the sake of just getting this post published, here's a story, an episode if you will. Otherwise I'll get so lost in remembering things in order that I'll never get it written down. I'll call this one "Blind Theater."

You could, I suppose, translate teatro ciego as "theater of the blind" as well, but it doesn't really sound as nice. I like the literal translation of "blind theater" better. In the neighborhood of Abasto, close to the Carlos Gardel Museum, stands the Centro Argentino de Teatro Ciego, a nondescript theater that produces shows that are made for and largely by the blind. But these plays and other theater productions are not only for the blind but place the seeing public in the shoes of a blind "spectator." The shows are put on in the dark and incorporate not only sound but also smell and touch.

One rainy Saturday night a Spanish friend of mine called me late to see if we could snag some tickets to the late performance of the new play Luces de libertad. Argentina had recently celebrated the 200th anniversary of the May Revolution, the revolution that sparked the war that eventually led to the independence of the majority of Latin American countries. The play tells the story of a black slave in Buenos Aires (yes, there were slaves in Buenos Aires, although there are very few families of African descent in Argentina now) who gets romantically involved with a young criollo man who is wrapped up in the May Revolution. I wasn't all that excited about getting dressed up and going out in the rain that evening, but my friend harassed me into venturing out and practically dragged me to the theater. She even had the nerve to call the theater to see if they would delay the start of the show by five minutes so we could make it before the play began. And the theater agreed!

So how do you put on a play for the blind? Or that even goes beyond this and strives to give the sighted audience an experience that mirrors the feelings of being blind? We were led into the theater itself by staff members, each person placing her or his hands on the shoulders of the person in front of him or her. The theater is entirely dark (and having been in true dark inside caves previously, I can tell you that it was indeed entirely dark) and we were helped into our chairs by the staff of the theater. Or perhaps even by the actors themselves, I'm not sure. One of the actors warned us that it can be disorienting at first to be in the dark, in the complete dark without being able to see even shadows of objects. And he warned us sternly of not turning on cell phones or illuminating watches during the performance. And at some point, without warning, the play began. I won't really go into the plot more than I already have, but I will say it was well written. They did an incredible job of describing things in such as way that you could imagine it in your head but without straying from the norms of conversational speech. It didn't sound false or contrived when characters gave the audience and idea of what things looked like, what sounds meant, etc. even though in a play for the sighted these things might be left unsaid.

The play integrated sound, touch and smell with a deft touch. At first it was strange, but after a few minutes I began to imagine in my head the actors and staging and sets and costumes. I began to forget I couldn't actually see anything. It was eerily similar to how I imagine things while I'm reading a novel. Nothing was very defined or sharp or terribly detailed, more like an impressionist painting rather than a realist or even surrealist one. But for me, these images supplanted any awareness I had of being seated in a chair in a dark room. When the characters were washing clothes, you could hear the water and smell the soap. When one was cooking, you could smell the burnt sugar of the dessert she was making. The actors used the entire room as their stage and their voices appeared in front, behind and to the sides, as if you were inside the play and not a spectator. Actors would softly bump into the audience members, rubbing a leg while walking past with their own legs or lightly placing a hand on a shoulder or arm. The most impressive moment for me was when two of the characters swam across a river. Not only could you hear the sounds of the water splashing and the labored breathing of the swimmers, but you could also feel the splash of water and smell the riverbanks. And the sounds and splashed moved across the room, giving the impression of movement, as if these actors were truly swimming across a river that had magically appeared at our feet. I was impressed at the ingenuity of the whole play, but this scene left me dumbstruck. At the end of the play the lights slowly came up and we were able to see for ourselves the actors who we had been listening to for the past hour and a half. I had imagined a cast of a least ten or fifteen, but eight actors stood before us at the end, dressed in plain clothes. According to the playbill, over half the actors are themselves blind. It took me at least twenty minutes into the play to realize what kind of dedication it must take to learn a play like this, since it is not only the audience but also the cast that is in the dark. There are no visual marks to follow, the actors are not wearing night-vision goggles to know where to walk or where to stop or how to maneuver among the audience members. It must be like memorizing a dance, three steps to the right, two to the left, run six steps ahead and fall to the ground. I wonder if at some points the actors were having conversations with themselves and not with other actors playing the second part in a discussion.

I have no idea if there are other blind theaters out there. Surely in a city like New York or London or Paris or Madrid there may be. But if you happen to find yourself in Buenos Aires I highly recommend attending one of the plays put on at this little theater in Abasto. You won't regret it.