I remember thinking, what difference is there between donating my body to science and donating it to someone who might find pleasure in it when I'm dead. Sergio Blanco and Daniel Goldman collaborate again, after the success of their critically acclaimed Offie award-winning productions of Thebes Land and The Rage of Narcissus, to tell a mesmerising story of love and lust beyond the grave. Desire, friendship and eroticism intertwine in When You Pass Over My Tomb, a dazzling play by Latin America's biggest living playwright that asks, how far would you go for love? And will the world allow it? This edition was published to coincide with the world premiere at London's Arcola Theatre in February 2024.

Three rabbit friends discover what they are best at: Darcy finds no other rabbit can outperform him in digging, Farold realizes that he is the best runner, and Howell's long ears enable him to hear over very long distances. Each of the three rabbits is very proud of their own ability and anticipates recognition from their friends. When they meet, each of them is only focused on talking about his own qualities without listening the others. Their individual believes that their own skills are the most important skill for a rabbit to have result in a loud and passionate argument that catches the attention of a hungry lynx. The lynx captures the rabbits and takes them to his hut to cook them for lunch. In order to have his hands free for the meal preparation, the lynx puts the rabbits under a metal cage with a heavy rock on top to keep them from escaping. He then goes about the process of meal preparation with the scared rabbits looking on. Under pressure, the story tells how the rabbits realize that individual skills are useless for an escape....unless they combine their abilities. A clever and well-planned combination of Darcy's digging, Farold's speed and Howell's listening skills might just work. Tension rises as they put the plan into action, all under the watchful eyes of the lynx who is anticipating a meal comprised of the three friends. Several times the rabbits almost despair of being able to escape and indeed, they escape the cauldron with not a minute to spare. Discover yourself how the rabbits got into this dreadful situation, all the effort it took to get away and what they learned through the experience.

One morning, as I was writing, I suddenly understood that as a species, through incredible stubbornness, we were able to write love into our genetic makeup, and that this is enough to redeem us all. We were given mouths to bite with, and with deep intelligence and beauty, we learned to kiss each other. Part performance lecture, part auto-fictional memoir, Divine Invention is Sergio Blanco's attempt to say something new about love. To do so, he recalls his own experiences of love, true and invented, and explores the history of love in art, literature, music, and science. The result is a life-affirming new play. Written by acclaimed Franco-Uruguayan playwright Sergio Blanco (Thebes Land, The Rage of Narcissus, When You Pass Over My Tomb) and translated by his long-time collaborator Daniel Goldman, Divine Invention is 'collaboration to savour by two masters of the form' (Lyn Gardner). This edition was published to coincide with the English language world premiere at Edinburgh Fringe Festival's Summerhall in August 2024.

Cosa significa amare? Cosa significa desiderare? E' possibile innamorarsi rispettando le diversità dell'altro? E quando questo altro non un essere umano ma un animale? Zoo racconta l'incontro tra l'autore, Sergio Blanco, e un gorilla. Iniziata per fini lavorativi, la relazione tra i due si intensificherà sempre più fino a divenire amore e irresistibile desiderio erotico. Zoo mette in discussione tutte le certezze che pensiamo di avere sull'umano e l'animale, l'addomesticato e il selvaggio, il civilizzato e il barbaro. Sui modi e le forme dell'amore e sui confini che non può avere.

When writer Sergio arrives in Ljubljana to give a lecture on Narcissus, the first thing he does after checking in to his hotel room is get on an app and look for someone to have sex with. A few hours later, once Igor has come and gone, Sergio spots a dark brown stain on the floor. Looking closer, he sees that it's a blood stain. And looking around, he discovers more and more blood stains all over the room. A metafictional narrative about obsession, ego, desire and the writer's psyche, The Rage of Narcissus is a fascinating and disturbing journey into the labyrinth of the self and the darkness within us.

"La autoficción es una ficción de acontecimientos y de hechos estrictamente reales", así define Serge Doubrovsky, creador del término, un género literario inclasificable hasta los años 70 y que ha generado abundante bibliografía. Sin embargo, no es habitual encontrar a un creador que nos desvele su propia escritura del yo, que es precisamente lo que hace el autor de este ensayo. Sergio Blanco entiende la autoficción como un cruce de relatos reales y ficticios en los que se establece un pacto de mentira, en contraposición al pacto de verdad de la autobiografía. De esta forma, ambos géneros se separan sin remedio: la autoficción se transforma en el lado oscuro de la autobiografía. Después de realizar un breve recorrido histórico a través de las diferentes escrituras del yo desde la Antigüedad hasta nuestros días, el autor plantea un "Decálogo de un intento de autoficción", donde desarrolla su propia teoría a partir de sus obras autoficcionales (Kassandra, Tebas Land, Ostia, La ira de Narciso, El bramido de Düsseldorf y Cartografía de una desaparición), publicadas con el título de Autoficciones por Punto de Vista Editores. "En sus últimas obras [Sergio Blanco] ha llevado a cabo una auténtica investigación artística en torno a la autoficción teatral, una posibilidad problemática que ha acertado a resolver con profundidad, brillantez y originalidad incomparables." "Sergio Blanco está considerado como uno de los cuatro o cinco dramaturgos mayores de la lengua española en la actualidad." José-Luis García Barrientos Especialista en teoría teatral, profesor investigador del CSIC

Drei junge Kaninchen sind davon überzeugt, dass ihre besondere Fähigkeit das Allerwichtigste für ein Kaninchen sei. Dirk erklärt, dass kein anderes Kaninchen bessergraben kann als er, worauf er sehr stolz ist. Franzl ist das schnellste aller Kaninchen und Hannes hat die besten Ohren. Jeder der drei Freunde erwartet dass die anderen erkennen, dass er das beste Kaninchen ist. Als sie sich treffen, besteht jeder darauf, die Wichtigkeit seiner Leistungen hervorzuheben. Daraus ergibt sich ein lautstarker Streit. Ein hungriger Luchs überhört die Kaninchen. Er fängt die durch den Streit abgelenkten Kaninchen und trägt sie in seine Hütte, wo er sie kochen will. Während er das Essen vorbereitet, sperrt er die Kaninchen in einen Metallkorb mit einem schweren Stein drauf, damit sie nicht weglaufen können. In dieser Lage werden sich die Kaninchen darüber klar, dass ihre Leistungen einzeln nicht zu einer Flucht beitragen können – außer sie helfen sich gegenseitig. Nur eine gut geplante Zusammenarbeit von Dirk, Franz und Hannes könnte dazu führen, dass sie dem Kochtopf des Luchses entkommen. Die Spannung steigert sich als die drei Freunde anfangen, ihren Plan auszuführen. Schließlich mussten sie dafür sorgen, dass der Luchs nichts davon merkte. Entdeckt, wie die Kaninchen in diese schreckliche Lage geraten sind, was sie tun müssen um zu entkommen, und was sie aus diesem Abenteuer lernen.