With sarcasm, “The Gronhölm Method” tells the story of four candidates for a high executive position in a technological multinational who face each other in the final interview. Little by little they must discover who is who, sowing mystery until the least expected end. We talk with Vicuña.
Journalist: What attracted you to be part of this work made years ago in theater and cinema?
Benjamin Vicuna: I was interested in the challenge of being in a work that was a phenomenon in Argentina; I was at the production in Madrid, I also saw the film and I consider it an interesting material to work as an actor. It is also the opportunity to return to the stage, something that I missed and that was interrupted by the pandemic when we premiered with Fernán Mirás and Violeta Urtizberea “Terapia amorosa” in El Picadero. He really wanted to do theater and especially a comedy.
Q.: What are the themes of the play?
BV: The perversity that seeks the limit in people and measures how prepared they are for a job. Mine is a character that has a lot to play with, because he is ambitious, politically incorrect and funny from different layers.
Q.: The play was written 20 years ago, how has the world of work changed today?
BV: It has its validity and works as well in these times as in the past, since this issue of human resources in a company is experienced in the same way, or perhaps in a cruder way today. The employee always aware of whether a new boss appears in the company that could fire him or half the company, that makes the public empathize. We all know a boss or peer and in this case there is a savage fight for a position in the labor pyramid.
Q.: How was working with Zorzoli, a specialist in acid humor and delusional characters?
BV: He is a great director as well as a teacher of actors, with which he takes great care of the interpretation and combines it with the demand for rhythm and dramatic impulse in the actors to compose each situation according to the character. But the process was also fun, we were and are enjoying the theater.
Q.: What does theater give you that other areas don’t?
BV: Contact with the public, which fulfills me as an actor. In this case I am devoting all my energy to it, it is a luxury that I give myself because I am only doing theater, and only in October will I have to divide my time to film a series. But this training that the theater provides is not provided by any other field, that my life revolves exclusively around the theatrical was a goal fulfilled.
Q.: What series will you record?
BV: For Star Plus, with Pampa Films, it’s called “The Human Voice” and it’s a thriller based on a novel by Gabriel Rolón.
Q.: How do you see the theater in Buenos Aires?
BV: Hopefully, because the public is following the show live. I went to see “Piaf”, in that wonderful room that turns 150 years old, I think of those historic buildings that remain stoic as they watch the works go by. I saw commercial theater, “She in my head”, “Lapland” and “Fantasmatic”, by Zorzoli, and I only find a large audience that resurfaced after a situation as sad as the pandemic.
Source: Ambito
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