The Marbella interpreter Pepón Nieto incorporates the unforgettable Paulino who wrote José Sanchís Sinisterra in the classic of our contemporary scene Oh, Carmela! Nieto is accompanied by María Adánez on July 1 and 2 at the Teatro del Soho CaixaBank (Málaga) to demonstrate that this show is still valid in times of far-rights and war conflicts
The editing of ¡Ay Carmela! It has had several theatrical proposals and a mythical film starring well-known actors.
It is a work that is a contemporary classic, because the author is alive and it is written in the 80s, but it is a classic work. Wonderful actors have passed through Paulino and Carmela, since they are very appealing characters to play and because they are very well written. They have a very beautiful text to defend and it is a pleasure to be able to face it. However, I must admit that at first you wonder what I can contribute differently to this production.
And what makes your Paulino unique?
When you do a second reading of the work, you realize that the classics are also continuously interpreted and that what differentiates the characters are the actors who bring them to life. My truth is mine and what I can bring to the character. My emotion is different and it makes my Paulino unique. Probably another partner will do wonderfully well, but he will be a different Paulino. We each bring our truth, our emotion and our point of view to the text.
The director is José Carlos Plaza. How did you plan the function?
Each director raises a way of the work and from what point of view he attacks it and what he wants to tell. José Carlos Plaza wants to portray the harshness of the war, that the characters are very stripped. We have wonderful scenery, but María and I always say that we could do it anywhere with nothing because there is a truth about the characters and the show that we are seeing. It could be a nude show and it would be perfectly understood by the emotion of the characters and the actors.
What is the difference between the show defended by María Adánez and you from the previous ones?
I have not seen all the previous works that have been done. However, the comedy part has it because it appears in the text, but José Carlos has not insisted on being very kind, rather the show tells of a very terrible situation. That fear, those bombs, that hunger or that cold are present without any hindrance.
The text could be perfectly set in the present moment.
The hard thing about this feature is that it is now very timely. It is very unfortunate that there is a war in Europe that affects us all, that we are seeing it live and direct. In addition, this country is very polarized with the extreme right and the nationalisms that are resurfacing. Unfortunately, these situations that appear in the text are very recognizable.
As an actor defending a text that contains so much, what does it imply?
It is a responsibility because it is a political act. Theater is political, well, and everything in life is political. To do or not to do, to say or not to say, becomes a political act. This function is very compromised in the sense that we tell the truth and there are no hot spots when it comes to telling it because that’s how José Sanchis wrote it. The core of the show, the germ of the show is historical memory, what counts is that the great price we have paid for being in a democratic system is forgetting. We have forgotten and we must not forget what happened so as not to repeat it again. Perhaps the hardest part is the commitment to memory and to the hundreds of thousands of people who are still buried in ditches and ditches throughout this country.
With this representation, are they managing to stir consciences?
The public that comes to see it is very diverse. From older people who are perfectly aware of the conflict and know what we are talking about, to young people who have heard bells, but do not know exactly what happened. It’s very curious because sometimes when the show ends, boys are waiting for us and it’s surprising that boys of 20 spend money and have been moved by the story of Carmela and Paulino. I leave very happy every day when the function concludes.
Because I see how the public gets emotional and how, in some way, it transcends our work and also because it is important to say these words, it is important to write this text. It is not a comedy, which I have also done and with dignity, where the only pretext is to amuse the public and for people to have a good time and disconnect for a couple of hours of their lives. I personally like to stir more and the theater has to move you inside. The theater has to change you on the inside, it has to fulfill the task of making you come out of seeing a play in a different way than you came in and make you move something inside. I think that in this function it is achieved thanks to the direction, the text, the work and the commitment of my partner and mine with the text and with the emotions that the characters feel. We are enjoying a lot and we enjoy what is produced from the stalls.
He talks about theater as an art that must stir consciences. As a spectator, is that the theater you like to see?
I like to go see all kinds of theater, but I feel like being removed. I like to put a mirror in front of me. I like to see society and see how we are through the characters. The theater has to put you in front of a fair mirror that sometimes distorts reality and other times it is very clear.
And what situation is he in? theater nowadays?
It is more alive than ever. In these times where the audiovisual reigns, where you can watch a movie on a mobile phone in a train carriage and in which information reaches you from a thousand places, from social networks to the internet, theater is the only island of authenticity that remains. , where things are not rigged. Far from the audiovisual eating us, what it has made us is to be special. It’s like department stores and small businesses, which survive when they specialize so that what you buy there you can’t buy in a large store.
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