February 25, 2021

"They put Arturo Fernández on the wrong side of the line"


The playwright and writer Albert Boadella wrote expressly for Arturo Fernández "Ensayando a Don Juan", a work that premiered in 2014 at the Teatros del Canal. After knowing the death of the actor at age 90, Boadella assured LA RAZÓN that he did the work thinking the interpreter by admiration. "I could see the extraordinary gifts he had as an actor. So formidable that I could maintain a silence of 15 seconds, which is an outrage on stage, and keep the thread of connection with the public. It was one of the things that impressed me most, "recalled Boadella. "Few could do what he".

In that work, Boadella wanted to maintain a double tension. The first, Fernandez with the character of Don Juan, a gallant like him. "He had a graceful physique, an elegant voice and a naturalness and sympathy that came from all four sides. However, in the work we set ourselves the challenge of doing ironies with the myth of donjuanismo. Even in the end, he played both the protagonist and the Commander. " The other tension was surrounding him with young actors. "They were, well, what most actors are today. Young like that, liberal, left. And conflict was generated in the core of the work, because he was a lover of a certain classicism and good manners, elegance and education. And these young and progressive actors were just the opposite. And I witnessed how all those young people were doubly seduced, for their work in the theater, but also personally, because everyone was enthusiastic about Arturo, "explains Boadella.

Regarding the contempt that his career had in some areas of criticism or the cream of the intelligentsia, Boadella has it clear: "Arturo Fernández never wanted to make political merits to access certain prebends. He was happy and he had enough: the theaters full, which is a lot. He did the most important thing a comedian can do, which is to seduce the audience. Therefore, he never needed to praise certain political options to get involved in the boba soup, "he says. As Boadella remarks, Fernández, "never had any subsidies. He was enormously hardworking and managed to make a living. He provokes admiration for some of us, but for others in the guild he provokes certain jealousies and jealousies. "

"If this man had been born in France or in Italy, he would have been the great actor in every record. He had the comic record and the tragic one. He would have made the best Molieres or Pirandellos. What happens is that in Spain, our guild, especially after the dictatorship, took a path of leftist progress for many reasons. Because the left is the one who has paid the comedians the best and the people look for the bread. And because, as he was successful in the dictatorship, he was already on the other side. And my colleagues, say, playwrights and directors, left him as a "facha". Here at the minimum that one is not with those of the eyebrow, is already facha and that happened to him as unjustly as reality has shown"

Arturo Fernández's method "was the experience". "The knowledge of what I call the physiology of the public. He knows perfectly the public's reaction to an action or word from the stage. That deep knowledge of the trade is not learned in schools. It is something that gives practice and I do not say that schools are not necessary to enter the trade, but the practice is 90 percent. What you provoke in the viewer is the essence and the core of the trade. "

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