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Vivi Tellas (Buenos Aires, Argentina, 1955) is a theater director. 

She graduated from Escuela Nacional de Bellas Artes Manuel Belgrano and from Escuela Municipal de Arte Dramático, and burst into the Buenos Aires mid 80´s theater scene with Teatro Malo (Bad theater), a research project where she showed three pieces by Orfeo Andrade, a secret and unstageable playwriter: El esfuerzo del destino, El deleite fatal and La marquesa Sobral.

This first innovative and disconcerting experience established the direction her work would take: the exploration of the limits of theater both as a praxis and an institution. Among other highlights in her vast and varied work, Tellas related theater to contemporary visual art (Tribute to Xul Solar, in 1989, at Sao Paolo’s Contemporary Art Bienal); staged John Cage at Teatro Colón (Europera V, 1995); dug up Roberto Arlt’s forgotten theatricality at Centro Cultural Rojas’ Library (Los fracasados del mal, 1992) and together with Guillermo Kuitca proposed a new version of La casa de Bernarda Alba (2002) at sala Martín Coronado from Teatro San Martín. 

In 2000, with El precio de un brazo derecho (a research on the world of work), her perspective on theatrical experience began a radicalization process that lead to Proyecto Archivos (Archives Project), the series of documentary theater pieces she is currently working on that comprises Mi mamá y mi tía (My Mom and My Aunt 2003-2004, “family theater” with her actual mother and aunt), Tres filósofos con bigotes (Three Moustached Philosophers 2004-2006, an essay on the connections between thought and personal life performed by three philosophy professors from Buenos Aires University), Cozarinsky y su médico (Cozarinsky and His Doctor 2005-2006, a tête à tête between the filmmaker and writer and his physician Alejo Florín) and Escuela de conducción (Driving School 2006-2007 where she dealt with the relationship between cars and people, with two instructors from the main driving school in Buenos Aires and the only employee in the entire school, a woman, who doesn’t know how to drive).


That same innovative will is in the base of her institutional interventions which are as relevant as her theater direction work. Vivi Tellas founded and directed the CeT (Centro de Experimentación Teatral de la UBA in Centro Cultural Ricardo Rojas); there she conceived and coordinated for 6 years the Museos Project, where she invited a group of theater directors to articulate the protocols of theater representation with the exhibition modes postulated by a series of non artistic museums of Buenos Aires. Between 1998 and 2000 she was responsible for the Scenic Arts area of the Centro Cultural Recoleta, where she created the Sala Contemporánea. Since 2001 she directs the Teatro Sarmiento, which has become under her influence the experimental space of the Complejo Teatral de la Ciudad de Buenos Aires. There she created the Biodrama Project, a series where theater directors mise en scène the life of a real living person. This project has so far given nine original plays. 






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