Inferno

The concept of hell, as defined by the Catholic Church, is a myth. Upon further examination, the prelates clarified that the reference was made in a metaphorical sense. If the concept of hell does not exist, then the word “hell” must be taken to exist. This, according to Rafael Spregelburd, implies that hell is a ubiquitous phenomenon. Argentinians are inclined to engage with speculative and complex narratives, and these concerning hell have been devised by the Buenos Aires-born Spregelburd as a thought-provoking and comedic exploration of the infernal realm.

Spregelburd demonstrates an admirable Argentinian skill in writing, directing and performing, which enables them to move from tragedy to comedy with remarkable ease and fluidity. He is capable of invoking, as evidenced by his work in Inferno, Hieronymus Bosch, translating from English and German, presenting a television programme on architecture, establishing the company El Patrón Vázquez, moving fluidly between series and films, teaching theatre, and maintaining a relentless pace of work.

The film Inferno, which was released in 2022, achieved considerable success in Argentina. It was the commemoration of the 500th anniversary of Hieronymus Bosch and the text written by the Argentinian author was commissioned by the Vorarlberger Landestheater Bregenz in Austria. Nothing out of the ordinary for Spregelburd. From 1996 to 2008, he authored seven plays inspired by the deadly sins, as outlined in Bosch's interpretation in The Seven Deadly Sins and the Four Last Things, which is currently on display at the Museo del Prado de Madrid.

In the case of Inferno, the Prado once again served as a source of inspiration, with Bosch's images from The Garden of Earthly Delights providing the artist with further inspiration. It is therefore evident that the culturalist patina is present. Inferno addresses the seven virtues (faith, hope, charity, temperance, prudence, justice and fortitude) in seven scenes, performed by four actors who transition seamlessly between characters, up to 16, without hesitation. One should not anticipate a display of erudition, intricate plotting, or the provision of a mere escape from reality. It is necessary to consider the protagonist, a journalist specialising in the dissemination of information pertaining to tourism, who is roused from slumber by two catechists and informed that the Vatican has abolished the concept of hell. There are other individuals who occupy distinct spheres: an art critic, a mathematics teacher, a lawyer, a newspaper editor, and a psychoanalyst, each operating within their own conceptual frameworks.

The play progresses in a multitude of directions, with multiple plotlines intertwining. However, the primary plotline can be attributed to plagiarism, as evidenced by the resemblance to a plot originally published in a literary supplement. The two-hour film Inferno appears to last only half an hour, given the devilled pace and chaotic setting, which is strewn with objects. Spregelburd's oeuvre is once more characterised by a preoccupation with the relationship between language and the world, as well as with the notions of chaos, catastrophe, guilt and swindle.