Ana Rujas, actress: “Of course we talk to each other. And I have said no to projects so as not to work with certain people” | Culture | EUROtoday

“Everything I know about the past, the future, and especially the present of the Panero family, is that it is the most damning sleaze I have ever seen in my life,” says Michi Panero, the tortured, lovely and talkative son. from Leopoldo Panero, proclaimed poet of the (Franco) regime, to Miguel Rujas, bookbinder from Carabanchel. The man teaches Michi the right way to prepare dinner some Extremadura migas whereas the 2 slowly get drunk with wine on the kitchen desk. “Hey, Miguel, we can talk in confidence, right? Look: being so emotional is poor, it is intellectually low class, it is much better to keep your emotions to yourself and cover yourself a little. Don’t they teach you to cover yourselves?”

The theater, movie and tv actress and writer Ana Rujas (Madrid, 36 years outdated) ends with this inconceivable dialogue. The different beast (Aguilar), a ebook that now (this Thursday, January 9, in Matadero, Madrid) goes to the stage of the theater starring its personal writer and directed by Pedro Ayose and José Martret, with Joan Solé, Teo Planell and Itzan Escamilla . In 2019 Rujas co-wrote and starred in The ugliest girl on the earthdifferent theater. In 2021 he created, co-wrote and starred in Cardothe sequence that made her well-known and with which she gained two Feroz awards. In 2023 she was one of many protagonists of The Messiahthe sequence of the 12 months. She would be the protagonist of Julio Medem’s new movie, 8. He is writing and can direct a movie a few theater director who adapts The disenchantmentthe legendary documentary concerning the Panero household by Jaime Chávarri. And he has simply returned from Buenos Aires from filming a sequence and is premiering a play.

Ask. Were you by no means afraid up there?

Answer. Fear, no. Adrenaline, sure. Respect, sure. When we had been doing The ugliest girl on the earth I mentioned, lastly: I let go of the actress that I’m, this isn’t taking place nevertheless it’s okay. It was the top of a battle, of a way of belonging. And I mentioned to myself: if that is how it’s, if my life goes to proceed being like this, that is superb.

P. She jumps from one place to a different, in several registers, as an writer or actress, in even antagonistic initiatives.

R. And I by no means know if I’m going to interrupt one thing, nevertheless it’s a part of the sport.

P. The different beast It will not be straightforward to deliver to the theater. But one way or the other they’ve reinterpreted it.

R. I’m glad as a result of we’ve got been rehearsing for days. For instance, a number of days in the past we had a formidable rehearsal. And you already know that it’s a job, an unimaginable job. I actually love him. I’m glad to be there. That we fall to the bottom, we stand up once more; We do not perceive the textual content, we’ve got to search for it, discover it.

P. The phrase “act” makes me sick, he writes.

R. Paradoxical, proper? I say it quite a bit. This job is curious: I attempt to be very sincere, and I do it by appearing.

P. The much less noticeable the higher. The extra true it’s, the higher.

R. I prefer it that method. The different beast will not be very gentle, Cardo It will not be gentle in any respect, it is extremely uncooked; of The Messiah What am I going to let you know? But they’re processes that I take pleasure in. It’s not one thing about “ah, what a good time I’m having”, it is extra: “I’m having fun like this, in the middle of the storm, like these months of rehearsals, of madness.” I do not wish to be comfy. It scares me to suppose that one thing is already good, that it’s completed.

P. The Paneros.

R. The movie I’m writing with Ariadne Serrano is named The disenchantment and is impressed by The disenchantment by Jaime Chávarri. It’s being tough [sonríe]. I requested the Javis (Javier Calvo and Javier Ambrossi, producers of Cardo and creators of The Messiah) the thought of ​​a play recovering the Panero, and so they urged that I make the file of a movie. Now we’ve got delivered the primary model of the script.

P. You are from Carabanchel. Are there artists in your loved ones?

R. My mom is a social employee, my father is a bookbinder. At dwelling they gave me what I wanted most: freedom to be no matter I wished.

P. And do you know it quickly?

R. I wrote as a toddler, my mom submitted me to story contests and so forth. In faculty I additionally did screenwriting. As for appearing, I used to be all the time fascinated by theater that you might say issues that you simply did not say in life. Being in a position to say unimaginable issues out loud that you simply would not in any other case say. Being in a position to be different individuals.

P. How do you get alongside along with your character who poses on a purple carpet, on journal covers?

R. I simply do not know if I’ve a personality. And if I’ve it, I do not give it some thought. I believe individuals additionally see me in these locations as I’m, I do not give it any thought.

P. ¿Referents?

R. It has been Angélica Liddell, it has been Gena Rowlands, it has been studying what my father informed me, which was Miguel Hernández or Lorca. Those movies that EL PAÍS gave away, so many issues.

P. Did he take something from that younger, volcanic mom of The Messiah?

R. I believe you all the time come out higher from an interpretive course of. This one particularly, the youngsters. They had been like my kids: I had by no means labored like this with kids, and I needed to win them over. It was a loopy job.

P. How do Los Javis work?

R. They all the time search for one thing magical to occur on filming. And it occurs. Because they advertise, and it has to do with the truth that they’ve management however they faux to not, they present that there isn’t a construction, however there may be. And then you definitely suppose you’ve got room for your self, and you find yourself having room for one thing surprising to all of a sudden come out of you.

P. …

R. One day, for instance, after we arrived on set, Javi Ambrossi took me and got here with me right here and there. I assumed: “Damn, how nice he is with me today.” And we had been going to have a espresso there, pissing ourselves laughing. What was taking place? We had a really sophisticated scene later. And he was on prime of me all day stress-free. What did he need? That I did not get into the drama as a result of I used to be already within the drama. That’s a job {that a} director does, and never everybody can do it. They are very good.

P. You had been born in 1989. How does your era face a situation by which girls are now not silent, many communicate out and report instances of abuse and harassment?

R. Well, we’re in that limbo, huh? We have skilled sturdy issues. I’ve lived them. And now after all I’m glad that issues are popping out, that issues are recognized, that issues are being uncovered: it’s obligatory.

P. It retains taking place.

R. It nonetheless occurs, however I actually do not suppose it occurs like earlier than. I do not suppose so, no: it is inconceivable.

P. You simply mentioned that you’ve suffered a case of abuse or harassment.

R. I’ve skilled some episodes, sure, and I’ve had a nasty time, clearly. And I’ve one way or the other transformed every thing into work materials. In The different beastin Cardowithin the film. And I believe it is extremely vital to share these items amongst colleagues, and we’ve got achieved it and we’re doing it. And there have been initiatives which have been proposed to me and I’ve mentioned no, I’m leaving as a result of I did not need to work with sure individuals. And now I dare say this, it’s true that my place is totally different. But at 19 years outdated, when it occurred to you, what the hell had been you doing? Well typically nothing. It’s very sturdy. I’ve skilled issues that my mom.