2023-12-24 07:57:19
Today as a director, a role that he knows is hardly definitive, Luis Brandoni celebrates the cast he directs in a new production Made in Lanús: “It’s a pleasure, because except for Cecilia Dopazo, with whom I worked for six years and she was a teenager (and now she has children, those tremendous things that happen in life). The others are colleagues that I know today, and I love what they do, their dedication, their fervor, their fear, and their enthusiasm. We have the hope of making a successful show, because it means that people like it, even if they cry, it does them good.” Luis Brandoni comes from a powerful 2023, where he excelled in series like Anything, by Mariano Cohn and Gastón Duprat, and did theater with Juan José Campanella, with Eduardo Blanco, in Parque Lezama. And a cameo in The one in charge. It also became elected representative of Parlasur, and publicly criticized what he defined as “the mistake” of Patricia Bullrich (her alliance with Javier Milei).
2024 begins with Made in Lanús, then, and the question is what does this classic represent decades later? Brandoni: “It is difficult to know what he is going to present now, in this version. I know that the play is destined, without a doubt, to be a classic of the national theater. Of that I’m sure. Perhaps this rerun supports this theory that I have, but it is very likely that this is the case. I believe that this work will have a very precise date in the labor report ‘This work takes place in Lanús, province of Buenos Aires in April 1986’, because it is necessary that it be located in time, to know what was happening back then. We give it in 2024, and there are many things that people are going to experience from the identification, that speaks to why I believe it is a national classic.”
—What does 1986 mean to you today?
—1986 was a very particular moment in Argentine history. It was the end of an inexhaustible series of coups d’état, states of siege, de facto governments, and the presence of a hope for a lasting democracy, which until now cannot be denied. We sang “for a hundred more years”, the radicals sang. At the moment we have not reached 100, but it is enough that we have reached 40. Forty years without political crimes, with democracy, with the majority will of society to want to continue living in democracy. These are things that this work can show. It can also show that there are problems and situations that are repeated over the years. And it is not the best thing that might happen to us, but it is reality. This work can be seen by all Argentines, and there are some moments, or many moments, where they will feel very represented.
—What do you feel you have discovered regarding art in your profession?
—I wouldn’t dare define art, but I can say regarding performing art that it is a recreation for society, it is a moment in which men and women, all of them, dedicate themselves to themselves, like a gift they give themselves. . And it has occurred in many places for hundreds of years. Everyone dresses a certain way to go to the theater, they prepare. They talk to the ticket taker, which doesn’t happen with the movie ticket taker (who no one talks to). That shows you that theater is one of the few artisanal tasks left in the world, it is done by hand and one by one. It has that particularity. Among us, Argentines, there is theater with a long tradition. There are theaters in every town and every city in Argentina. Immigration helped us be who we are, and that includes theater. People saw farce, and they saw countrymen from many parts of the world. That is to say, the theater did an extraordinary task of social integration.
—What is the theater performance today?
-It’s the same. In the repertoires that are made today there is a difference. Today it is assimilated to the theater closest to entertainment. It’s not always fun. Fun comes from diverse, from different. It is theater, although don’t laugh, it is something different, because the spectator somehow becomes a child, he goes to the theater, convinced that he is going to believe in what he is going to see. And an actor appears, there is no doubting what that person represents. It is an act of good faith, so good faith is it, that if you get an entry and you don’t like it, there is no refund. This is how good faith the act of theater is. And if you like it, as has happened many times, that gratitude is felt.
“This work can be seen by all Argentines, they will feel very represented”
—What has theater given you?
—It has helped me grow as an actor, it has allowed me to meet authors that I would not have otherwise known or read. I had an extraordinary training at the Conservatory. I entered in 1958, and left in 1961. I had 4 years attending classes from Monday to Saturday, with a body of unrepeatable teachers. I was educated well, I was raised well for this. Shortly following being in that place, without anyone telling me, I found out that the theater had already begun before me, you enter and you think the theater is born with you. It’s good to know that’s not the case. Is very good.
—What do you like to tell?
—The fantasy that one has is that the viewer is going to have a good time, a fun, diverse one. And if he likes what he saw, he will have a good memory. I think it’s something that can’t be touched, that can’t be kept. Being able to create good memories is a beautiful job.
—What are the good memories of your job?
—First of all, when I entered the conservatory, I told my parents, and they took it very well, and that helped me enormously. It is a random, irregular job. Nobody believes you, I mean, you say to someone “the architect Brandoni” and they believe you, and if you say “the actor Brandoni”, “Actor of what?” Nobody believes you, unless they know you very well, or unless you have 60 years of experience. But it is not a socially recognized profession. If the question is what do I like? The possibility, not always, but many times, of showing off with languages that you do not use. I was lucky enough to do theater from the Spanish golden age.
“Throughout my career I achieved respect as a professional and citizen”
—You were talking regarding not believing actors. When did you start to believe that you were an actor?
—After a few years of profession, years in which things went well and things went badly, but I was able to support and finance a small family that we had formed with my wife Marta Bianchi and my daughters. We gave them education, we were able to live from our work with its good stages and its bad stages. I have always tried, and achieved, to make my job a decent job. That’s why I also accepted the responsibility of being an ad honorem union leader, as I was at that time, that made me feel good, it made me feel useful. And the most frivolous part of my profession was not what I enjoyed the most in my life.
—What did you learn from the bad stages?
—It is part of the profession, then there are other aspects, such as politics, which also has to do with good or bad times, especially in countries like ours. I don’t attribute that to my profession, but to the country in which I live, in which I want to live, in which I will live and in which I want to be when I leave too. I learned that, and I achieved respect as an actor, as a citizen.
—What makes this variety of Argentine theater?
—The fact that it is necessary that we do Argentine theater. Our authors talk regarding us, regarding their compatriots. And the problems are ours. Here in 1933, people knew how to read and write, that’s why cinema was everywhere, and it was with intertitles, almost no dubbing. That’s what we have to keep in mind when we read today that 54% of kids can’t solve a simple problem, that they don’t know what they’re reading. It’s a tragedy.
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