In the Buenos Aires billboard there is a work that dialogues with contemporary theater from an infrequent angle: the cross between dramaturgy and sexology. Voyeurs, side Bwritten by Walter Ghedin and directed by Mariano Dossena, opens in the shed with a cast headed by Victoria Carreras and Cristian Sabaz, accompanied by Mónica Salvador, Camila Cahn and Junior Pisanu. The proposal, beyond its plot premise, is held in the trajectory of a singular author: a psychologist and sexologist who for years explores the edges of intimacy and desire, both in the clinical consultation and in the narrative field.
Ghedin is not a conventional playwright. His work is nourished by the thorough observation of everyday life, of the confessions that cross the walls of the offices and that incessant tension between what is silent and what is exposed. Its theatrical pen finds fertile terrain in those awkward silences, in the deviant looks, in the holes of the dialogue where the truth is hidden. In Voyeurs, side B He stages a worn couple for the years of coexistence, with evaporated desire and tedium installed as a third inevitable presence. The emergence of a woman in the opposite building acts as a trigger, but more than an external character works as a mirror that returns what the protagonists refuse to recognize.
The theme of voyeurism, raised from the synopsis, exceeds erotic curiosity for the life of others. Ghedin works as a metaphor for desire: to look at the other as a way to meet what is missing in oneself. That “other woman” is, at the same time, a desired body and a projection of deficiencies. The playwright knows it and stresses it with precision: the public attends a game of mirrors where the intimate becomes a show and the private is disarmed under the magnifying glass of the collective gaze.
Ghedin’s experience as a sexologist is perceived in the naturalness with which he displays the contradictions of couple sexual life. There are no effective moralisms or turns; What predominates is a clinical look, already stripped at the same time deeply empathic. The author knows that sexuality is not exhausted in the physical act: it is a field of representations, fears and fantasies that cross coexistence. In the work, desire appears as an illusory screen, as a veil that hides the everyday and its folds. That tension between the apparent and the true is the “side B” of the title, what the protagonists – and the spectators – try to avoid but sooner or later becomes visible.
The scenic device, with open windows as an exposure symbol, reinforces the approach. The address of Mariano Dossena opts for a record that balances the intimate with the public: the conversations are filtered, the secrets are intuited, and the invisible becomes inevitably tangible. The actors maintain this dramaturgy of the suggested with solvency: Carreras and Sabaz embody the couple with nuances between frustration and nostalgia, while the appearance of Cahn introduces the disturbance of desire, that shift of the axis that dynamite the apparent calm. Salvador and Pisanu complete an assembly that provides rhythm and tension to the plot.
The great merit of Voyeurs, side B It is not formed to narrate a couple crisis. What Ghedin proposes is an exam on the contemporary condition: we live in a society where to look and be seen constitutes a daily experience, amplified by screens, networks and various exhibitionisms. The theater works here as a laboratory of that paradox: we all observe, we all want, but few are encouraged to expose themselves in its most stark truth.
In that sense, the work raises a question that resonates beyond the room: to what extent are we willing to be really seen? The other’s look can excite, bother or undress what we prefer to keep hidden. And that is where Ghedin, with the security of those who have heard for decades the most intimate stories of his patients, knows that desire is always ambivalent: illuminates and darkens, promises and disappoints.
Voyeurs, side B He confirms that Walter Ghedin has found in the dramaturgy a privileged channel for clinical knowledge. Its theater is not merely testimonial or illustrative: it is a poetic exploration and at the same time requires the conflicts of couple, the gray areas of sexuality and that moving land where the intimate is exposed to the public gaze. A work that challenges, uncomfortable and, above all, forces the viewer to recognize themselves in the mirror of the scene.
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