Marina Bellatti: If I decided to do it, it’s because I like all the variables. I feel that, of the acting language, the most sacrificed and laborious is the theater. I say no to theater a lot because it is very committed, nothing can happen to you, it means being there from Wednesday to Sunday and giving everything on stage. So Zorzoli was the only director I needed to act with, I liked the cast, I know them, and La Plaza works well at the production level. As for the work, it is still very current, unfortunately, because there is something of cruelty, capitalism, fragility, power, precariousness, which is increasing. To get on he closed everything, otherwise it is very uphill for me.
Q.: In what sense is the theater the most sacrificed and laborious for an actor?
MB: Because it implies a total, excessive delivery. When you film, someone repeats the lyrics to you, they stop you, you film yours and you leave, there are 12 hours that are not 12, they begin and end, it is something else. There is something of the commitment in theater, of arriving at the room with the things of the day, of living together on stage and below, and of great friends, that I have many from TV or cinema but the link in theater is deeper. The family is set up, you have to have a lot of confidence because it is without a net on stage, on the other hand, in the cinema it is cut, if someone does not say the foot, a reverse shot is made, if the force is fixed, there are more tricks in the face of lack of confidence or differences when working, in theater everything is very exposed, we are very us, there are not so many masks, even though they are the symbol of the theater. There is more mask in television or cinema than in theater, everything is very close, that’s why if I do theater, I choose it with joy…
Q.: The work was written 20 years ago and seems to be more current than then.
MB: In fact, it has now recovered in Barcelona and Madrid. Labor competition has sharpened, the things that capitalism brings, the lack of camaraderie, every man for himself, are those four who are there to kill or be killed, to step on heads. There is the question of the selection of personnel that could be reviewed today by the networks, it could be updated, but basically it is a bit the same. That compliance and putting on the company’s shirt, being accountable, with whom one associates, the characters are monstrous and are willing to pass very heavy limits.
Q.: Are those monstrous characters more fun to embody?
MB: Yes, playing the son of a bitch is fun because since I don’t do it in life, it’s liberating. It is far from my world and I feel that we do the opposite on stage, we are a team, we are a network, I am joining Martín Slipak in a play that has already played 100 performances, so if I am wrong my text is said by another actor, I saves, contrary to what happens with the characters, who sink each other.
Q.: What is the difference between starting a work from scratch and joining this change of cast?
MB: I would have liked to be in the process because it was less pressing at the time level, now we are doing something that usually takes two and a half months in a couple of weeks. But we understood each other in the first conversation and we go to the same place on a fast track. Although I saw a feature from the previous version, Ciro Zorzoli advised us to make our version with our tools. I don’t find it attractive to imitate, I’ll go the other way and get other results.
Q.: What else does theater give you that other areas don’t?
MB: Give revenge to the actor. Now I will see a movie that I filmed a long time ago and I will surely notice scenes that I do not like because I could have done it differently, I will feel that I missed things and that I am the worst. The theater, especially the commercial with several weekly functions, gives revenge, I can say in another way, there is something very alive all the time. I am not indifferent to the presence of the public. That people continue to go to a room to tell them something, that I hold a brick as if it were a telephone seems to me a beautiful delirium. It is believing and it is faith, in that sense it seems mystical to me. Believe in the convention, that the dead mother appears and we accept the ghost.
Q.: Past hits such as “Art”, “Ella en mi cabeza”, “Piaf” and now “Freud’s last session” returned this year. Does the commercial theater play it safe?
MB: It’s like the public that continues to watch “Friends”, when you know how it continues and how it ends, it generates less anxiety. On the other hand, it’s good to see works that are still current, such as fashion, revivals, re-read or see a classic, revise, and anyway the works are picked up by other people who tell it differently. This text is from a Catalan with an interesting flesh to return to, we are not making a formula like “Cats”.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
