Read original interview here: Marián Aguilera: «La realidad no significa que los buenos ganen siempre».
|Image by Luis Díaz|
Stars as Elmira in "Tartufo, el impostor", the classic by Molière which is staged at the Fernán Gómez until Sunday [11 December 2016].
Written by Molière, "Tartufo" is a classic of universal dramatic literature. The figure of the hypocrite and the false devotee is so perfectly delineated that he has become a literary archetype. The company Venezia brings "Tartufo, the impostor" to the Fernán Gómez theater, where it will be until December 11 in this version by Pedro Víllora, directed by José Gómez-Friha. His intention is to transfer the story to the current times, in order to decipher those imposters that surround us. Marián Aguilera, versatile and consolidated actress in cinema, theater and television, is Elmira, the second woman of Orgón, victim of Tartufo.
Are you sure it was written in the seventeenth century? Because of its current situation ...
It is already known that the themes of the human personality come from way back. Surely from the first human group there would have been some Tartufos out there. Another thing is that circumstances occur that seem to be written in these times of corruption.
Could we define what a Tartufo is?
He is a selfish person, a liar who only look after himself. Someone who uses intelligence to manipulate others for their own benefit. A person who does not empathize with anyone, nor with pain, nor with grief, nor think of the damage it can cause. He only seeks his interest without being touched by anything or anyone.
Will there be people who feel identified?
Sometimes it happens to us in small things. People do not steal or keep anyone's belongings. We all have bad and regrettable things. I think that the honest and healthy is anyone with a certain maturity who looks at it a little, that it looks like a mirror. What happens here is exaggerated; it does not mean that the work highlights the tartufillo that we all carry inside.
It's more serious.
He speaks of a serious and dangerous personality. No one is free to be a little Tartufo at some point, but somewhat minimal, to another scale. We are not all Tartufos, they are very fat and it is with them that we have to be very careful.
The low passions appear.
The betrayal, ambition, voracity for money, revenge, robbery, double standards ... The years pass, but the human being don't change. These passions and baseness arise from very large complexes leading to harmful behavior. In most cases they come from upheavals and from the loss of the criterion of reality.
Where do the classics put the eye ...
They're classics because they're able to X-ray the human. As you work the characters, you discover the number of layers they have, they are a sample of the human soul.
Who is Elmira?
I play Orgón's second wife. Elmira is a woman with criteria, a character who from the beginning is solving problems and very painful things, the injustices that affect them. It's a role that goes a lot. What she wants is a normal life. Also, by reducing characters in this adaptation, I make scenes from others. I also interpret to the one who tells Orgón to open the eyes to see Tartufo, with him I discover the feelings of those who hate Tartufo.
Does the humor appear?
Humor is with us all the time, but we have not worked it to get the laugh. That was not the intention at any time or in any rehearsal, but then to put it on the scene we have taken the great surprise of its continuous presence.
Is it true that the colors of the dress have to do with the type of character?
If that is. There is red and blue costume. It was a decision of the director and costume to highlight those who are with Tartufo and those who are not. He says that red is the color of hell and uses it for his team, and the opposites, who know his dark background, wear blue.
What is the version of Pedro Víllora?
They worked hard and made changes; they did not want to do it just the same. They were attracted to talk about these types of people, and to create the personality of the character, they based it on the work «Los perversos narcisistas» by Jean-Charles Bouchoux. In addition, they have recovered the original ending of Molière, that was prohibited by the censorship and was suppressed. They have updated it with many winks to the current reality, to the contemporary. Those who know the usual text will surprise you.
Are the endings always happy?
Not in this case.With a happy ending people go away because they believe that the good always win and that's not the reality. Unfortunately, in the end, the bad guys have so many strategies and so much desire to annoy that most of the time they get away with it. So it seems to me, even better, because it brings you much more and makes you come out much more alert.
Is the theater something different?
It's not the medium that matters to me, it's the project. There are so many great things on television as well as bad things, just like in theater and in movies. More than the average, is that the factors that make it a precious project: script, direction, companions ..., but you never know. Good and bad products are in the three media.
Yes, I am a reader of the press and more and more by Internet. I used to read more on paper, but now I alternate directly. For me it is a necessity, I like to look at everything; some things carefully and some more than average, but I am interested in everything. It seems that the Sunday morning times with the newspaper on the table are over. Now you take advantage of any time, on public transport from here to there, to read with the mobile. This way we are much more informed. As the thing is now more squeaky I look more at politics, but what I always go to is the pages of Culture, which is where one learns.