It’s 11 within the morning. A theater class ends at Cristina Rota’s faculty, within the Lavapiés neighborhood of Madrid, and a dozen girls and boys dressed, in different phrases, in pure summer season, troop out to calm down within the patio. It’s good to see them. Soon, the top of all this, Cristina Rota, arrives, carrying her daughter Nur, little sister of Juan Diego and María Botto, with whom Rota was pregnant when she arrived in Spain in 1978, after the disappearance of her husband, Diego Botto, on March 21, 1976, within the first days after the army coup in Argentina. Dressed in a flowing skirt, a sailor blazer and ultra-light sneakers, as fragile in look as she is powerful in verb, Rota, who has raised generations of actors and actresses on this incubator of expertise, from Penélope Cruz to Antonio de la Torre, together with her personal youngsters, comes to speak to us about her guide: A narrative of theater and resistancewhich collects a number of the many lives he has lived at 81 years outdated.
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‘A STORY OF THEATER AND RESISTANCE’
Not even within the title of her autobiography did Cristina Rota (Buenos Aires, 81 years outdated) need to fail to call the 2 passions and vocations which have guided her life. From her childhood, marked by a cyclothymic father hooked on playing, and a resistant mom, to her adolescence and youth, marked by political and creative dedication, to the day that modified every little thing: March 21, 1976, when her husband, Diego Botto, didn’t name at 10 at night time and by no means did so once more, lacking as a result of repression of the Argentine dictatorship. Rota, exiled in Spain along with her youngsters María, Juan Diego and Nur, since 1978, has educated generations of actors and actresses who’ve discovered the commerce from and along with her. He continues to go to highschool and educate daily.
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