She is barefoot and moves with small, quick steps. His body shook slightly. She is wearing a blue nightgown with a pink robe over it. Perhaps she got up in the middle of the night, somewhat disoriented, and ended up in this kitchen, which is nothing more than that mental space in which her troubled memories, her muddled memories, are huddled together. She explains that that morning, when she was brushing her teeth, the handle of the brush broke in her hand, and it broke as if a small branch had broken, and cracked, and she was perplexed, her mouth foaming, as she looked at herself in the mirror, without beginning to live. She believes that this break in her daily routine, once again, hints at a condition, though she still doesn’t know what it is. And he looks at the audience and says: “Do not be afraid, I will go slowly, so that you do not get lost. I accompany them. I will lead you by the hand, as you carried my son in the first years. Do not leave me, please. “
And this son, who as a child had flat feet and was slow to walk and was so full of fear that he could not cross the aisle without a light is the actor Edward FernandezWho occupies this kitchen with his body and his voice His mother is Anna Mariawho died in 2020, a patient with Alzheimer’s disease, in this work called All love songsp., directed by Andres Lima It premiered last Saturday at the Teatro Calderón in Valladolid, before arriving on Friday at the Teatros del Canal in Madrid.
Edward Fernandez has not set foot on stage in five years, I’ve never done a monologue He had never worked under Andres Lima, but had called him, before his mother died, to tell him he wanted them to work together. Later, the actor traveled to Buenos Aires and saw in a room sea at nighta work by the Argentine Santiago Loza left an impression on him, and he bought a book for him that includes the monologue All love songs. The epidemic arrived and his mother died in Barcelona while he was in Madrid. I can’t say goodbye to her. The actor then told Lima that this script that Loza had written would be his farewell and that he wanted him to direct. The playwright traveled to Madrid to incorporate into his monologue parts of the actor’s biography, such as flat feet or his fear of the dark, and Fernández had a kind of Silver engraved with his mother’s initialsplacing her ashes inside and with that decoration in the pocket of her pink robe, she built the body and voice of a woman “astounded by her own truth”.
“I often remember how you spoke,” the actress explains in an interview that took place next to the Parque del Oeste in Madrid, days before the play was due to arrive at the Teatros del Canal. “It’s a subtle thing, it’s about it Consider how you spoke, which is a trio, but not only that, it’s the timbre and the certain distance she had with things. and that, without trying it, can be artificial & rdquor; Says the actor, “But I’ve always tried to do things in a normal way. I’d do theater and someone would always come up to me and tell me how you did it, I turned it around, and I said no, no, I’m just trying to do it well. In building my mom’s body, I think it shows that I I had studied mime and I don’t like nature, but rather He expresses things differently. And if you’ve tied it, you dare and they guide you well, it’s beautiful.”
Ana María says on stage: “At this moment, Eduardo will think of me” and that sentence, like many others throughout the play, reveals a game of mirrors in which several dialogues take place at the same time: the one of Eduardo Fernández has been with her mother since That I decided to turn it into a theatrical character, and the other character in which that mother talks about her son on stage, about the child who was the actor playing her role. On the walls of this kitchen we will see children playing on a beach in CastelldefelsSuper 8 images recorded by his father when they were children and that reinforce that emotional space in which Eduard Fernandez finds himself: “From the beginning I think of my mother, I think of myself as a child, and since then, don’t hang up, because I can relate to a very clear emotion Sometimes, but in my house we were very honest in that sense, we talked about death naturally, and yet, when there was a kiss on television, we brothers, we took turns to see who covered the two diamonds.In work there is a certain distance because I can go into jest And laugh at it, and at the same time I see poetry in many parts.
Andres Lima and Edward Fernandez Escape from emotional pornography And they bring a meticulous script to the stage, loaded with narratives of the daily lives they give work and sprinkled with songs that their mothers loved and also, I love songs like wefrom Los Panchos or the scientistby Jimmy Fontana, songs that conquer the stalls to be listened to with some calm while Ana Maria speaks or dances with the portrait of her son. And this work, in a time as cruel and aggressive as the one we live in, becomes a hymn to fragility: “Yes, yes, whole,” says Fernandez, “and also for me, the fragility of his son, who is me, when he says that I cannot be alone, that we We were thin and tender, with all the good and the bad of those close relations with a mother. You have to take care of that, but once it’s over, you only see it with affection and love.” The actor explains that although he was not at her side when she died, he suffered from his mother’s illness and decline, and this is also echoed in the play: “I remember one day when I saw the madness in her And I thought she wasn’t my mom anymore, she wanted to bite me and I thought she was like a little animal, poor thing. She wanted to die, she had every reason in the world, she was aware of her deterioration, but she was so humble that she dared to look at it, shared it, she could look at you and tell you look how I am. “
And in this decision to show the degradation of a person whose memory comes and goes, and who confuses the present with the past, there is no pornography, but there is no modesty either: “You are mature enough and you realize that modesty is but a little shameful and intimate that if you take them off everyone recognizes you.” And he recognizes himself and tells you that the same thing is happening to them.” What is there, he admits, is fear: “Fear of everything, of being done like an ass, of eggs, of the past. You go on a trip like this, you stop, and you think maybe what you’re doing is rubbish. Moment tables give a lot of vertigo, I have Quasi-religious respect for the theatre, they are big words, you must respect a lot what is very ancestral & rdquor ;. Once that fear was confronted, Edward Fernandez says he was aware of taking on “the personal and acting challenge I wanted and like I would do Shakespeare again—Ricardo would be all right—, there was an impulse asking me to do this, this tribute, though there were days of telling Myself in it about how complicated this is and how hard it is. But I find it so beautiful at the same time.”
You will not reach Barcelona
The actor will be collecting jobs and this work tour, starting Feb. 12, with Recent photo sessions Iron hand, a series on Netflix directed by Lluís Quílez, and in October, with a new movie that he still does not want to give many details about, only that “it has a good script, good characters, good directors, and with this combination I am already saying a lot & rdquor ;. And this round , which had already closed carriages in Granada, Seville, Alicante, Murcia, Vitória or Pamplona, would not reach Barcelona.” In Catalonia, I go to Prat de Llobregat only one day & rdquor ;. why? “I don’t have the answer. There are things that simply don’t happen and there are those who make politics through what doesn’t happen. It’s a play in Spanish, with a Catalan actor, so be careful. I couldn’t say goodbye to my mom because I was in Madrid and she was in Barcelona and now that I’m doing this work so that I can say goodbye to her, I feel so bad that they didn’t give me the chance to do this in my city. It’s true that things happen in Barcelona that sometimes make me feel uncomfortable, things that are very Catalan, not candid, simply don’t go or if you go to TV3 and they cut out part of what you say in an interview.”
“The last thing Bishop Per Casaldiga, who I played (in the series) told me Bare feet on the red ground), was: you have to be radical. And my extreme is: to do what I want, to do this monologue, even if it is not political or left-wing, because I believe that intimacy and theatricality are really revolutionary & rdquor; Fernandez explains and we remember that a few days ago, in the same newspaper, theater director Mario Gas lamented that theater “loses its energy to confront power”, an idea linked to the fact that this power uses culture as a throwing weapon in its political battles: “I believe that politicians They use us, and at the same time precisely those who use it for their own good, to gain power.I think we are at a time when politics is an integral part of culture and, in general, Culture should not be conducive to power Not even against it, but on the sidelines. I feel like culture is interested in what to do, how to do it, and what to say. We are a little tamed. I like being on the sidelines, and of course when you’re out there, there are gigs that don’t come out. ”