“Doing independent theater is an act of faith that must never be abandoned,” says Francisco González Gil, who is part of a theatrical family headed by his father, the director Manuel González Gil; her mother Ana Lascano, actress, director and teacher, her sister Sofía González Gil, actress, author and director, and her other sister Manuela, also an actress.
Premieres as author and director of “Wonderboy”, at Nun Teatro Bar, on Sunday, with performances by Guido D’Albo and Sebastián Dartayete, about an intergenerational meeting between Don Eugenio and Franco, in an old bar in a town. We spoke with González Gil.
Journalist: What interested you about the generational clash and how did it enrich the meeting?
Francisco González Gil: It was the starting point for building the material because one of my first experiences in theater was Gepetto, I acted with Manuel Callau at the Cervantes and then I took her as a model. I did it so much that I was able to go deeper, and I knew a lot about the material and I was interested in the clash between two characters of such different ages and how a friendship could be built while being so different.
Q: What was it like growing up in a theatrical family?
FGG: My family is completely immersed in theater, my parents met doing theater, my younger sister is now attending a play, we are five people who are into the subject. With my dad and my sister we share projects together, one feels comfortable working as a family, it gives a lot of permission to stimulate creativity. In this job it is essential to be comfortable, we always share work criteria. I am marked by my family and the theater, since I was a child I saw plays, I shared rehearsals and those experiences marked my upbringing. At times it can bring conflict because I remember feeling rejection, because a family constantly linked to the theater, conversations at the table monopolized by the topic of art, acting, made me wonder if I chose theater because it was a given or because I really wanted it. Thanks to this I had the opportunity to venture and once I finished my vocational search journey I started to think about what it meant to be in this theater environment.
Q: What is it like to produce independent theater?
FGG: It is the first time I produce but I have been in many works and it is very difficult. You have to put money out of your pocket speculating whether or not the subsidies you can appeal to will come out, or whether people will go to the theater and the money will be recovered. It is an act of faith to do independent theater. It is an effort, getting together to rehearse and put together a team that can cover all areas, scenery and costumes. The only guarantee one has when facing it is the happiness of doing it, of seeing the project come together little by little, enjoying the creative process, finding a balance where the heart remains and the direction of the work where one wants. It is difficult but it is something that you should never stop doing, self-management has given me a lot of growth and experience. It is a way of not standing still waiting for someone to knock on your door to work and generate your own.
wonder.funcion.23_19MARTIN PALURI.jpg
Photo Martín Paluri.
Q.: What can you say about the theater scene in Buenos Aires?
FGG: The offer is amazing and gigantic, the independent one is the one that identifies me, the one I choose and I like to see. It doesn’t mean that I can see a commercial work that I like, but unlike other places, Buenos Aires has the possibility of seeing a great work, with excellent actors and staging, for a good price.
Q: What can you say about the current moment in culture?
FGG: We are going through a critical moment in the country and culture, not to mention, we have to be stronger than ever and united to resist this madness. More than ever, people need to hear a message of resistance from the culture.
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.
