Hermes

Tomasz Borczyk is an actor, playwright, and theater director who, until recently, lived and worked in Madrid. He graduated from the Royal School of Dramatic Arts (RESAD) in Madrid and the European Theatre Arts program at Rose Bruford College in London. He made his stage debut playing Tadzio in the opera *Death in Venice* at the Teatro Real (2014, Madrid).  From 2016 to 2018, he was a member of the international Bred in the Bone Theatre Laboratory troupe, with which he worked in England, France, and Wales. He has participated in numerous acting workshops led by John Strasberg. In 2018, he founded the theater collective Noche de Camaleones.
In his productions, he seeks new ways to engage with the audience, challenge expectations of what a theatrical experience should be, and blur the line between fiction and reality. In the psychedelic family drama *Rupert’s Dreams* (2021, Madrid), he invites the audience to explore the depicted world on their own through immersion, installations, and direct encounters with the actors. A reflection on free will and mental health, “Random Man” (2023, Madrid) features a branching narrative based on chance. The production “We’d Rather Not Play Bartleby” (2024, Theatre El Umbral de Primavera, Madrid) recreates the actual process of adapting Herman Melville’s famous short story for the stage, during which all the actors walked off the project.
In 2025, together with Carlos Tuñón, he won the Performative Reading Competition organized by the Grotowski Institute, and as part of the prize, he is carrying out the project “7 Boxes.” The performance, which explores our relationship with objects and the past, will be staged only seven times, and each time Tomasz will dispose of one of the boxes containing items from his family home in Katowice.

Carlos Tuñón is the artistic director of the collective [los números imaginarios], which has been surprising audiences since 2013 with the unconventional formats of its works, created according to the formula “classic text, contemporary strategy”. It could be an immersive version of “Don Juan” in the form of an all-night walk through the medieval town of Alcalá de Henares, “Hamlet,” in which the audience splits into Claudiuses, Horatiuses, Ophelias, and Gertrudes to perform the entire Shakespearean tragedy alongside the actor without any cuts; or “King Lear,” staged with the participation of people living with Alzheimer’s disease.
Carlos Tuñón’s theater emphasizes the audience member’s experience (both individual and communal) and aims to subvert the automatic responses and expectations associated with theater. His projects often experiment with the concept of time. The collective [los números imaginarios] has signed a contract with the El Umbral de Primavera theater to stage “Waiting for Godot” in 2060.
In addition to his own creative work, Carlos Tuñón is involved in education and artistic support for other troupes and artists, specializing in theatrical forms in which the audience is at the center of the experience, the division between stage and audience is dissolved, and the passage of time plays a fundamental role.