The multifaceted grancanaria Donina Romero, articulist, poet, painter, sculptor, rapsoda, singer-songwriter and fashion designer, among many other talents, is presented on this occasion as author and director of the costumbrista work 'Entre riscos y tuneras', to be offered today and tomorrow in the capital's Mercantile Circle.
In his biographical data is the authorship of 165 comedies, an unprecedented figure in Spanish literature, from the Golden Age to the present day. Do you really not exaggerate a little?
Yes, I have made 165 works, but not only theater but also television series and monologues, among other things.
What types and modalities of the dramatic genre have you cultivated in that production?
Apart from the novel and poetry I have cultivated tragedy, comedy and, above all, high comedy. I love to make you laugh. I have a lot of sense of humor. I am happy making people happy. I like the public to leave the play happy.
The re-release of Between crags and tunnels, one of your customary pieces, do you respond to any current information?
I premiered it more than 40 years ago at the Pérez Galdós Theater where I was the protagonist. I did it as a memory of those sayings of our Canarian history in which, above all, the rural woman had no choice at all. She was a house slave who gave birth to children, raised them and educated as well as she could because at that time almost all were illiterate and had not gone to school. They dedicated themselves to work without stopping with a tremendous machismo. Some light bulbs continue around, although very few. Mine is a memory, a nostalgia for all that and, above all, how people talked. In my works there are no badly sounding words because I believe that the country people were extremely polite.
How did you get inspired for the play?
I went with my parents to spend the summer because we had a house in Agüimes and another in Arinaga and the locals, both from the inland and from the sea, were very humble, but very polite, with tremendous wisdom from life even if they were illiterate. They taught you many things to live, which I always respected. I fell in love with the rural women who went to the ditches to wash, those indigo hands without nails washing. With a pencil and my notebook I sat next to them to hear them talk and pointed everything. They sang and were happy even though they worked as mules.
In times so vindictive of women, is there anything in your comedy that anticipates the feminist movement?
In 1967 feminism was founded and the work is set casually at that time. All the ladies of the town come to visit an old lady because they get along very well with her. One afternoon they were waiting for their niece Ildefonsa to return who had left more than 20 years ago and was a tremendous brute, a scandal in the town. He came back totally refined, elegant and peninsular speaking. She had left in that place completely servile women of their husbands and brought feminism trying to make them wake up, encouraging them to read and prepare, to live life and to get ready, to drive and to keep an office. They all realize that they had to move forward and get out of their stalemate. I anticipated boom Current feminist with this work.
Do you still think possible that clash located in the sixties of the last century, between a refined and educated woman who returns from Madrid, and her friends and family islanders?
Not today because television has done a lot. Before there was only the radio with a couple of channels.
Is it a coincidence that the protagonists of the play are five women and one man?
It's not by chance. When writing theater, finding men was difficult because at that time I did it, the woman did not work, while the man spent all day away from home, so finding a actor It was complicated. The woman had more time to act.
In his returns to the scene he usually gives great importance to how much the audience laughs. Is humor the most esteemed of your dramaturgy?
Yes, I have a great sense of humor because I inherited it from my maternal grandfather, who was the friendliest person in the world. I have also made tragedies, but I am not comfortable. For example, I have written a monologue about titled alcoholism Delirium tremens where a young girl has terrible experiences and is not able to get out of that hell.
She also declares herself author of about 60 songs, a very respectable amount. How is the quality?
I really like the bolero, the South American style in intonation and the stories of love and heartbreak. I accompany and compose with the guitar.
She defines herself as author, theater director and adapter, poet and rapsoda, columnist, painter, sculptor and illustrator, designer of fashion and singer-songwriter What do you think will be left of all this production?
The Cabildo has told me that they want to make me, for four or five months, a museum at street level in the Triana area. For now I have this project in mind.
A promotional phrase of the work that returns to the scene is: Do not be angry with me because I have a heart murmur and you send me to the floor! It's funny, but I promise you, as born in Las Palmas, I've never heard of it like that …
It is a rural language. We must distinguish the costumbrismo of the capital, the rural and that of La Isleta. I have always worked with the rural with little culture. When I started writing, I put characters in the works to the doctor, the pharmacist, the teacher and the priest, but that didn't play or humor because they spoke well. The grace was to use characters who had not been able to go to school and who signed with the fingertip, which, moreover, I remember with nostalgia. The expressions of the countryside were wonderful. I laughed a lot when I was young and asked its meaning to write it down.