Inés Estévez shines in “Bosque adentro”, a work about “a clear and stark truth of the maternal role”

(By Verónica Rodríguez) The actress and singer Inés Estévez shines in her leading role in “Bosque adentro”, an emotional piece that deeply portrays the complexities of a mother’s bond with her adolescent daughter during a trip to the south of Argentina, all Tuesdays at 8:00 p.m. in the 25 de Mayo Cultural Center of Buenos Aires.

“The idea of ​​embodying a neurotypical motherhood allows me to go through something that is impossible in my personal life,” Estévez revealed in a chat with Télam, alluding to the differences between the composition of her character for the play and her life experience, whether it was from the stage, as a mother of two girls with disabilities.

The plot of the piece takes place when a mother embarks with her 17-year-old daughter on a trip in a motorhome to Bariloche and during the journey there are discussions, confessions, moments of tenderness and also complaints, which transform the journey into a roller coaster. of emotions.

This course, traversed by a swing of feelings, adolescent questions and even mentions of the environmental crisis, will make nothing the same for both at the end of the trip.

“It is an attractive and consistent story in terms of the mother-daughter relationship, the issues it touches on are highly topical and, furthermore, the play has a certain break in relation to the usual theatrical themes”, the actress highlighted.

“The fact that it is a theatrical ‘road movie’ is already a challenge that requires risky language. It is a work without artifice or great twists, a revealing journey in the lives of two people”, the interpreter abounded, who in the In recent years, he has also carved his own path in the local jazz scene.

Directed by Corina Fiorillo and live music by Tomás Pol, the piece offers great performances by Inés Estévez and Ornella D’Elía (“Los sonámbulos”, by Paula Hernández) and a deep and sensitive text by Carla Moure.

Télam: What seduced you about the proposal for “Bosque adentro”?

Inés Estévez: I had already been about to work with Corina Fiorillo and it had not happened; I liked her path and as soon as I met her I felt that she was going to be enriching for me. Carla Moure’s text was intimate and moving, she offered a simple but deep language and that is not easy to obtain in the commercial theater; and the fact that the cast was completed with Ornella D’Elia only made me decide, she is a talented and beautiful person.

T: What do you highlight about your character?

IE: Beyond the role of mother, which is the most categorizable, there is a woman who has grown up alone and isolated with a problematic father who has left traumatic marks on her, she has had a daughter when she was very young and has brought up her without a partner. The arc of the character is a cluster of revelations on a journey of a thousand kilometers, a very interesting complexity to navigate as an actress.

T: How do you define the bond between that mother and her daughter?

IE: It is an endearing bond that is going through a turning point in which everything will be transformed forever.

T: In the work, motherhood is portrayed without romanticizing it.

IE: Yes, absolutely. It illustrates a clear and stark truth in relation to the maternal role. The approach is deep but not sweetened.

T: Is there a reflection in this proposal?

IE: I would leave the reflection to the viewer. I think that everyone from her point of view, be it a daughter, mother or father, can feel very different things. In any case, the conclusions coincide, such as the importance of responsibility in upbringing, to what extent personal imbalances can affect a child, how views vary from generation to generation, how relationship predispositions vary from experience, how inexorably children they fly sooner or later and how stories are repeated in each generation.

T: In history, the figure of man and paternity is questioned.

IE: Yes, totally. The men in the play are omnipresent. They are talked about, they are essential in the lives of these women, however they are figures questioned on some points, justified on others and, somehow, absent.

T: You are also one of the protagonists of “Plagio”, the new theatrical bet by José María Muscari, what does the piece propose?

IE: “Plagiarism” is Muscari’s spectacularity at the service of a dramatic and intense text, which of course does not lack the agility and humor that characterize José. It is the same work starring four different couples and people can choose which pair to see. In my case, it’s Malena Solda’s turn to embody the female partner, and the proposal has a background that will surprise. In short, it talks about love, but crossed by power, passion, certain fears and the prospect of success of one of its members, which triggers the conflict.

T: What is your role in the play?

IE: My character is a politician about to assume power as president. With a conflict that puts at stake the façade of a married woman and her relationship with her lover, who, being a woman, complicates her panorama even more.

T: On a personal level, and as a result of the experiences with your daughters, you became actively involved with the Disability Training for Teachers bill. You presented yourself and spoke in the Senate last April, do you think the Law will come out?

IE: In principle, the person who promoted this Law is Romina Núñez, a lawyer specializing in disability and the mother of a neurodiverse child. We believe that she is going to leave because she is being carried forward both from the Senate and from Deputies. It is a starting point for future improvements in relation to the lack of tools that the common school has in terms of disability. You can enter the YouTube channel of the Congress and listen to everyone, Ian’s presentation is final, a boy with autism who describes his school path with tremendous clarity. Then the application will have to be outlined with care and respect for each one of the parties, and I hope that this convenes those involved and that no desktop decisions are made that do not meet the authentic needs of the participants.