Nacho Sánchez: “I live better without social networks” | Culture | EUROtoday

It was ending the final examination of his research on the RESAD (Royal School of Dramatic Art) and occurring stage in a public theater to star, alongside Daniel Grao, in The darkish stone, the heartbreaking drama in regards to the lovely and unhappy story of Rafael Rodríguez Rapún, the final love of García Lorca, written by Alberto Conejero and directed by the Argentine Pablo Messiez. With two theater awards, the one from the Actors Union for The darkish stone and the Max for Ivan and the canine and different capabilities, comparable to I used to be born to see you smile o The dream of lifeamongst others, and his time in cinema, with Seventeen y Manticore, for which he was nominated for greatest actor on the Goya and received the Feroz award for the second title, Nacho Sánchez (Ávila, 31 years previous) —“The actor with ancient horror eyes” within the phrases of Messiez— returns to the stage once more below the orders of the Argentine director with The gestures. The efficiency will likely be on the Valle Inclán Theater from December 1 to January 14.

Ask. With your eyes closed, very nonetheless, you greet the viewers as they enter the efficiency. What do you concentrate on in these moments?

Answer. It is a purely bodily premise. We have labored loads throughout rehearsals across the anatomy of the physique, specializing in the eyelids and their very own autonomy, the quantity of sunshine they let in. I’m centered on my physique and on the eyelids and the actions that I may give them. When I arrived on the theater I spotted that this will likely be perceived very properly by the spectators who sit within the first rows, however not a lot by those that are additional away.

P. Do you employ any particular technique to pay attention?

R. It relies on my important standing. Sometimes I would like plenty of stillness and calm earlier than beginning and different instances simply the other to activate myself. I return to the textual content loads as a result of it focuses me on what I’m going to do, earlier than coming into the scene. In this position, I would like calm and a spotlight.

P. The gestures It is a operate of that, of gestures, nearly above phrases. What do the gestures recommend?

R. Gestures are one thing main and primitive, which outline you rather more than you assume. They outline you maybe greater than phrases and this work of The gestures It has to do with that, how a gesture appropriates the operate and locations itself above the phrase. It’s one thing I’m not used to. I’ve all the time labored with language that appropriates every part and, on this case, we’ve to give attention to gestures. We have needed to break many schemes when performing. I really feel that it’s a operate that may set up itself over time

P. What is figure like for a spoken phrase actor who now has to focus above all on the physique and the indicators of that physique?

R. I’ve felt plenty of pleasure giving precedence to the physique and considerably forgetting the phrase, though there are plenty of phrases within the efficiency. It’s a sort of liberation.

P. In the operate it’s one thing just like the one other self by the creator, Pablo Messiez.

R. I’ve by no means felt that Pablo needed to be on stage. We haven’t completed something mimetic, however reasonably to attach with Paul’s thought, which additionally occurs with any of his different works. I’ve gotten into Pablo’s gaze, which is an attentive gaze, stripped of opinion, a gaze that’s carried away by style, magnificence, with out attempting to show or decide.

I suppose I owe loads to my look.”

P. Do you pay more attention now to the gestures on the street?

R. Much more. When you remove the sound and the word, you realize everything we need the body to tell. It seems like you only need the word, but that’s not the case. We are invaded by gestures. I have always gesticulated a lot. My hands move on their own. I count many things with my hands.

P. He started in the theater almost ten years ago, with The dark stone, a work of victors and losers of the Civil War. What memories do you have of that show that devastated the box office and generated the best praise from critics?

P. It was the first time that the theater fed me and that is already something special. I am here thanks to The dark stone. When they hired me for the performance, I had just passed my last exam of my degree at RESAD. [Real Escuela Superior de Arte Dramático]. I have a frenetic, intense, very beautiful memory and, especially, of brutal learning. It is the work of which I have done the most performances, I think we reached 200, with a large tour and several seasons. I love it very much, although now I wouldn’t do it again.

P. How do you think you have evolved as an actor?

R. I have lowered, above all, my intensity. I have calmed down. In The dark stone I was 22 years old and I believed that I had to give up all my energy to feel like I was working. Now I feel that the work goes in many more ways. I do not regret anything. That work required the energy that I could give at that age. I am very grateful for that work.

P. In The gestures, is dedicated to observing, looking, always as if in the background. Are you observant? Do you look down the street?

R. I feel that my most creative moments are those in which I observe, in which I observe more and better, when I let things enter me, instead of going out to look for them. I seek to be attentive, look and not go searching for anything. Observing without giving an opinion or judging is very difficult, but it puts you in a tremendously creative state. Simply look and name what is there. For me, it is a key when creating.

P. Playwrights and film directors talk about their eyes, their gaze. How much do you owe to his gaze?

R. Don’t know. I guess I owe a lot to my look. I know that I have a very present look and that I can play with it. The eyes express many things and, in theater and cinema, it is clear that an actor becomes a means of expression.

P. He started doing theater at school as a game. Do you still enjoy being on stage?

R. I don’t always enjoy being on stage. It depends on your process and your moment, also on how your moment matches what you are doing, on the human team. Anyway, I never could have imagined when I was studying the fortune I have come across. I have worked hard, it is true, but I cannot deny the point of luck that I had when I started, as soon as I finished my studies.

P. In Manticore, by Carlos Vermut, played a pedophile. How does one prepare for a role as terrible and detestable as that?

R. For an actor it is very grateful. It is so different, it has so many faces and has so many possibilities that it is a real candy. I focused on the text and the situations of the film and not so much on the monstrous construction of a character.

P. Most of the characters he has played are very disturbing and disturbing, including the one he plays in The gestures. What do you think it is due to?

R. I like characters that are not very defined and have many lines to follow and work on. I think it’s always more interesting to be disturbed by something than to be comforted by something.

P. Are you afraid of being pigeonholed in that register?

R. Yes. Sometimes I feel like everything weird comes to me.

“Observing without giving an opinion or judging is very difficult, but it puts you in a tremendously creative state.”

P. Do you see yourself doing comedy?

R. Yes. I do little comedy, but I feel like it.

P. He has a successful career. At 31 years old, she has two major theater awards and Goya nominations for Manticore y Seventeen and the Feroz award for Manticore Has everything been so nice?

R. Not so much, really. I have suffered many downturns in which I did not find myself at work and I have needed to stop. It is a very commonplace to say that this profession is unstable, but the reality is that it destabilizes you a lot. I feel that it is the way I choose to live and that I would have a hard time living any other way, but at the same time you have to find your own routine and stability beyond work, because work is very changeable and ephemeral. Emotionally there are many ups and downs.

P. Do you still not have social networks?

R. Yes. I live better without social networks. I had them and they didn’t work for me because they destabilized me a lot. It is very good for me to stop and awaken attention, to feel that I am awake, attentive and curious and the networks did not generate that for me. On the contrary, I felt a lot of noise around me, I couldn’t stop paying attention to them. My reflex gesture was to look at my phone. The society in which I live is totally digitalized and I accept it without problems, but all the elements that I can get away from are better.

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