Journalist: What interested you about the character you play in the series?
Alexander Tantanian: Erika called me, co-writer and producer, for the character of the drag queen. I went through the casting in the platform’s procedure line and I ended up like this drag queen who is a psychoanalyst by day and transforms at night. The authors had seen my music shows and saw the potential to embody “Tanta tenderura”, that’s what my character is called, with scenes especially in the bowling alley. I liked that they invited me to act and sing, I also accepted because the series works on the different feminisms that, embodied by Lali Espósito, so popular and beloved, gives more visibility to the debate. She is a good rust horse.
Q.: What are you doing now in Munich?
AT: A version of “Los Siete Locos” by Arlt, they gave me the choice of what I wanted to do, I told them and they bought the translation rights. It is a free version that takes the plot line of the secret society of the novel led by the Astrologer but there is a transposition to a secret society that is in Munich and has an open evening to gather followers. Arlt fired at me the fictional excuse of a show that treats the public as possible adherents to that society. There are also seven actors who reflect characteristics of some of the characters in the novel and go around in a muffled manner.
Q.: What balance do you make of your professional present?
AT: One imagines but reality assaults and surprises. Everything is transformed in this work and there is a lot of chance. I never stopped working, we were able to carry out an attractive project in front of one of the most important theaters such as the Cervantes, it was a visible project, strong, with personality, not only me but a management group.
Q.: How do you see Cervantes today?
AT: Sebastián Blutrach before and now Jorge Dubatti and Gladys Contreras, fulfilled the commitments that we had left, I cannot evaluate programming because there was not much beyond it, with the exception of “La comedia es dangerous”, by Demaría and Zorzoli, and “La obra del evil”. But what was left pending in 2020 was done, that of Cristinan Drut, that of Beto Romero, “When the dead wake up” by Ibsen, the premiere of Gustavo Tarrío and Mariana Chaud with a children’s that was going to be about stories by Elsa Bornemann but the work had to be changed. The Our Theater in Pandemic contest was good and there are new works chosen that will have to be seen how they fit in terms of curatorship. We couldn’t see what they think yet but they delivered, and that’s good.
Source: Ambito
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