Iggy Malmborg (SE) in coproductie met Frascati Producties
Wed 31 Jan ’24 and Thu 1 Feb ’24
What does it mean to tell a story, does this act ever go beyond the mere event of self-design?
Wed 31 Jan ’24
Thu 1 Feb ’24

In SATAN, Iggy plays with the phenomenon of illusion by taking the audience through different stages of his supposedly life in six chapters and a prologue. 

In SATAN, Iggy tells the supposedly true story of his short life and his problems in six chapters and a prologue. It's a bumpy road that takes him from a deeply Christian family in the Swedish countryside, through friendships, sins, and homelessness, to the theatre. It unfolds a story of a hero who tries to become a villain but fails. SATAN could be seen as an homage to the ancient form of oral storytelling, where a solo performer’s body and voice are the sole means to bring the audience to faraway places. But at the same time something or someone lurks in the shadows....

SATAN is dedicated to the function of illusion. Illusion as a momentary, pleasurable escapism, but also as an elemental tool of creating stability and wholeness in reality itself. Whoever dedicates oneself to the subject of illusion must also talk about truth. In the cosmos of this piece, truth is an instance that reveals itself in a structure of fiction. Malmborg's aesthetic style in his previous works is characterized by fragmentation and repetition. But in SATAN, he will for the first time tell a story with a beginning, a middle, and an end, in exactly that order. But what does it mean to tell a story, does this act ever go beyond the mere event of self-design?

  • English spoken, Dutch subtitles
  • thu 1st of February part of the We Are Public program


"Malmborg's performance is outstanding, every hesitation, every gesture seems as if the memory spontaneously brings back feelings that are difficult to control. [...] 
It is difficult to talk about the sophistication of the play - a paradox between a coherent linear narrative and its simultaneous impossibility - without giving too much away. To leave it at hints: the evening even knows how to pulverise the only supposed certainty that it is Malmborg whom one follows over 90 spellbound minutes."

"Physics and Phantasma is an intellectual exercise perfectly fitted for the theatre, in which everything revolves, starts and ends with the relationship between fact and fiction, actuality and possibility." 
Movement Exposed over Physics and Phantasma

"Once again Iggy Malmborg has managed to make a theatre piece that with minimal expressions produce maximal of impressions and content."
Norsk shakespearetidskrift on Iris, Pupil, Retina, etc.

About Iggy Malmborg

Iggy Malmborg is a theatre-maker and actor from Malmö, Sweden. Although he trained in traditional acting at the theatre school in Malmö, his work – both solo and in collaboration – spans a broad range of aesthetics and styles.  
His major artistic interest is the use of performance as a model by means of which the discourse of the piece can be applied directly. Using minimalist strategies, he shines a light on the politics of theatre and explains this as a hierarchical machine with (unintentional) patterns of inclusion and exclusion. Over the years Iggy's work has gained international recognition and he has been praised for his ability to present a complex intellectual discourse concretely, with humour and warmth.

by and with Iggy Malmborg dramaturgy Johan Jönson light design Ulrich Ruchlinski choreography Sebastian Persson production manager Elisabeth Carmen Gmeiner production staff Agnes Stecher co-production Residenz Schauspiel Leipzig, Frascati Producties (Amsterdam) and BIT Teatergarasjen (Bergen) in collaboration with Inkonst, Stamsund Theatre Festival and Reykjavík Dance Festival supported by Swedish arts grants commitee and Malmö City