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Interview: Gabriel Fernandez

Gabriel Fernandez: "A good director should criticize a lot,"

Winner of the public Best Actress of 2010 for the work The orgy in Critical The Office, Gabriela Fernandez said that before entering the ENSAD, graduated in Communication Sciences at the University San Martin de Porres in 1996. "At that time there were problems of terrorism, so first I ended up in the San Martin and then went to School , Gabriela remembers, artist graduated in 2000, which had as classmates Bajac Sandra, Omar Del Aguila, Cesar Andrade and Richard Torres. "I decided then that first, I wanted to have a son to the theater."

One of the teachers you remember most fondly is the master Sergio Arrau. "I think what I liked most was his way of teaching, without feeling that I was teaching, directing, without feeling that you are heading" said. "He is so detached of formality, so fresh, so real and not at all condescending. " It is known Arrau's character as a teacher, who without "outspoken" talks openly to her students. "divided the room into two groups: those Pencas and clunkers" , recalls fun. "Pupi For work in search of the lost doll assigned me a role with very little time before the premiere. I was flattered and scared at the same time, I felt gave me his trust. "

"Yes there has been progress in the ENSAD" says Gabriela on the current situation National School of Drama, which he joined while still working in the uncomfortable space of the Museum of the Nation. "On entering they told me that for many years the School was something else, that the state supported" said. "Today, now in The Shack, I have been surprised to find actors with great discipline and demand with their work, attitudes obviously, but that question all the time." She served as assistant director in the School theater project The dark root cry, which was presented at festivals in Lima, Callao and Cusco year past.

actress Gabriela is considered more than a director, while acknowledging that in Huancayo in 2006 came to lead, as samples of workshops, no less than 42 mounts. "It was a marathon," recalls. "At least I got to get out of all, a couple of great plays." As expected, Gabriela put into practice the knowledge acquired Arrau, using his now famous Instructor Manual to try different ways of running. "Acting and directing at once is too much responsibility" , comments on the work dream and nightmare, for which convened Arturo Fernandez to lead and to give the possibility to interpret the work Gabriela with Omar Del Aguila. "I respect those who can do both, I think you should have a lot of" court "and self-confidence."

To Gabriela, a great director must ensure that the actor understands the essence of the work. "It must make you understand the impulse that takes you from point A to point B" said. "I need a demanding director, let me try a lot, I criticize a lot." Gabriela had the opportunity to work with directors with a very particular style, Daniel Dillon as mounting Roberto Zucco. "It was quite an experience, Dillon left us very loose and asked me to forget everything when you tried to act out." Gabriela not close to working with any director and thinks that every play should be "organic, for us to enjoy the actors and the public" .

Gabriela currently part of the Cultural Trust Company, composed of theater groups at any cost, MACUEM and broken shoes. "We joined at the beginning to bring theater to the affected areas after the earthquake in Ica. The idea of \u200b\u200bforming a network and take to the theater as a business, Gabriela has served for its work with a social vision. "We are now looking for work to work this year, provided autocapacitándonos, and expect to make a montage in tribute to Mario Vargas Llosa" he concludes.

Sergio Velarde

January 23, 2011

Gabriela in the work the orgy.

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Interview: JORGE Fien DA

JORGE DA Fien, "lies in the irrational genius"


Back home. After being away for a long period of time tables, the actor, playwright and director Jorge Da Fieno, returned last year to the theater with two hilarious characters in the play Reality Lima 2010 Pipol Chou, who also wrote and directed. "Acting and directing is not a problem for me says Jorge, awarded by the Office Critical as Best Supporting Actor by the said assembly. "The problem is the lack of professionalism of many actors, which fortunately was not the case of this Reality." And is that George, if the test is at a particular time, because at that time to start. "Other players do not commit themselves fully to the work and its characters, that would be the only impediment to do both acting and directing. I put a double to replace me in the trials as I lead, and then I go with everything and armed. "


Successful publicist for some of the most popular campaigns of recent years (SISE, The Monster Computers, etc.), Jorge was formed in Lima Theatre Club, an institution directed by Reynaldo D'Amore for over 50 years. "With Reynaldo was literally" the mess ", I learned to be a" pretty crazy "not to be problems in life and have a way of doing it forever." Teachers were also Sergio Arrau and Eugenia Ende. "With Sergio learned how casual it can be one, to have that degree of madness to laugh at life." Jorge Arrau addressed twice, and remember a text character in the comedy Jacinto Roses and Hyacinths: "Life without madness is not life. " And with Eugenia, Jorge learned body language and the most technical aspect of performing arts. "I always considered myself very disciplined in what I do, I have armed my life plan in the next 10 years, signed with the Lord and all coming true" he said.


On the technique used to build their characters, Jorge says he is an actor "chekhoviano", ie that you customized guidelines for action by Michael Chekhov. "Everything is based on the hypersensitivity" , refers. "Open your senses to the fullest, then arrive at the Joint Psychological character. " For Jorge, the character should start from a "pose" specific, generating a momentum that will give voice and appearance. "There are then two approaches: the kinetic, flowing freely in your instincts, and then, mimicry, which is the rational used to refine the character." The kinetic aspect of character creation is the most important for Jorge. "Therein lies the genius: as irrational." Ends an interview process to the character, to observe and discuss directly.


Among the works that George remembers most affection are the first Reality Lima Pipol Chou, written and directed by himself, with the participation of actors Luis Gustavo Gonzalez, Juan Carlos Diaz and Igor Moreno Rosas hyacinths beside Gonzales, Angelita Velásquez and Mary Grace Cavero; All That Heaven , where he acted, wrote and directed, and Foreign Minister, staged in homage to the maestro Sergio Arrau. "In this work I had the opportunity to play eight characters and to share the stage with Reynaldo Arenas" he recalls.


Inexplicably, Jorge disappeared from the small screen and the stage for a long time. "It was a tough time, economically speaking," he recalls. "My wife Gladys (Hermoza) was very supportive at this time, not only is she a great actress, but my best friend" . During that time, Jorge was devoted, among other things, to write the autobiography of Arnie Huss, until finally he could succeed. "Fortunately, thanks to the Lord, I recovered, I Reality ... and Tribulation series, which worked with the script." Among the immediate projects include the staging of another play written by himself, as well as a journey, which hopes to get more contacts. "I think with a little more humility, things would be much better for everyone," reflects .


Sergio Velarde
January 15, 2011

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Interview: CARLOS ACOSTA

CARLOS ACOSTA: "As a director I generated trouble actor

Two more solid and entertaining productions last year were: The forbidden apple of Gonzalo Rodríguez Risco and faith lessons Claudia Sacha. The common denominator lies both stagings its director, Carlos Acosta, who won the award for Best Director of 2010 for Critical The Office. "I I graduated from the School of Drama at the Catholic University (ETUC) and actor in the 87" recalls Carlos. "I had as teachers Roberto Angeles, Jose Enrique and Luis Peirano Mavila. During the process, we had a Directing Workshop with Jorge Chiarella, which went parts ridiculous The beautiful and was a revealing experience for me, I drew some stage direction. "

After completing his studies, Carlos went to work as an actor with brakemen group, with Roberto Angeles as director of the group. "We had a Teatrino in block 10 of Av Arequipa and started to experiment, I knew I had to create my own projects and not wait to call me." was so Carlos was "dared" to lead The beautiful ridiculous in that area, "the normal presumption that every young person who starts it, and should not ever lose," says . The staging was a success, the season lasted for eight weeks with full room and visited schools and universities. "I had as actors Antonio Aguinaga and Fernando Vasquez. With the profits of the work could recover the money I borrowed from my father for the project. I also received much support from the AAA, which I rented the costumes at low prices and comments from teachers, peers and the public were very positive, " he said.

The stage direction

After The beautiful ridiculous , Carlos became aware of taking the stage direction as an opportunity to work, and I could say things which interested him through their productions. "The theater because I love to tell stories" said. "I take the history and recreation without betraying the author." Carlos But initially all the works were nightmares in power, that should be addressed not only as director but also as a producer. "It is a serious direct and produce at a time, as director asked for things, but as a producer was not to get them, it was very limiting creatively" . That's where born, as he thinks Carlos, the famous Peruvian or Latin creativity. "We know how to solve problems due to lack of economic resources" says with conviction. "The idea is to solve them creatively and not seems you had no other option. "

Carlos is important to separate the management of the production of a play. "The first time I worked as a director was only when I directed the work drying Parallel Juan Manuel Sanchez, for the National Theatre" he recalls. "I was director at the end did not have to worry about anything, Nany Díaz producer had to provide all my needs." And is that for the work, Carlos needed a square trampoline and the producer should get it. "One day I reported that found a round trampoline but that brought another meaning, referred them to other readings that I did not want to mount. In the end, after much searching, ends up getting the square bed. "

"My job as principal is make trouble for the actor," says Carlos . "No problem, the actor is not given the possibility of creative solutions. The more complex the problem proposed in the work, I will be found increasingly creative solutions. " And obviously, the staging, with Carlos Acosta as director, will be enriched greatly, to result in cleaner assembly, consistent and fluid. As it was, for example, Lessons of faith, which premiered last year at the Sound Theatre. "Directing Elvira (Dela Puente) and Haydee (Cáceres) was an incredible experience" recalls Carlos. "I had great expectations for working with them and discovered two wonderful human beings with rich emotional charge."

For Carlos, when a director works will come to mind concepts and offers its players, but they do not know in advance. "Your" gun " as director is that only you know and you put it as a problem. After causing the problem, you're routing the actors to find creative solution options. In the end, end up being better than what you had originally proposed. " Carlos recalls that lessons faith in the first reading and was all settled. "I said jokingly: Well, ladies, we are a week before the premiere."

The ENSAD, workshops and group

Carlos Acosta has spent 10 years as a professor at the National Theatre School (ENSAD) and ensures that at first I thought only take one cycle. "I see as a disadvantage to be a professor of ENSAD; to enter the education you know that will capture all your time and that is why I left personal projects for 8 years." Despite the wear clear that a teacher receives, especially one of action, in which young people put their hopes and end up demanding it, the experience turns out to be invaluable. "I nourish the students," says Carlos . "You learn of the problems that will arise, is very rich for your personal growth, learn what you apprehend them."

"Recently I considered the decision to re-create my own artistic projects and workshops to continue the performance." For Carlos, the fact of working in the ENSAD not a problem with the dictates of workshops. "A workshop is more particular" said. "The ENSAD offers a much more comprehensive." The work The forbidden apple was the result of his work with the group Free Word, which is part with Fiorella Díaz, Sergio Cárdenas Ota and Yuri. "They were all students of mine and I proposed having a group with who could say what we wanted with absolute freedom. "

projects

"I remember that I am also an actor," says Carlos, who last performed in Two for the road Cesar De Maria, next to Tatiana Espinoza (pictured), a work that Charles also directed. "I want to return to action and to demonstrate in full action." As director, Carlos needs its actors "have confidence in the person who will guide, which are intuitive, with a gesture that they know where to go, and have the mind willing, open and free." On the other hand, acting director want your "pick me as best he sees fit, as an idea or image."

Carlos is preparing to run in April suddenly a kiss, a text by Eduardo Adrianzén at Sound Theatre, which will be staging three young actors. "I have also planned to continue my acting workshop this summer and hope to arrange a quote for a project and acting as an actor." Carlos is important to continue to learn from the experiences offered by the theater as well as creating links with human beings involved in these creative processes. "It is important to recognize creative and human beings. Sometimes a director is like a merchant of illusions and so are people who want to share these experiences with you " he concludes.

Sergio Velarde

January 12, 2011