Knight of Fina Estampa, remembered by emblematic television cycles such as “The Golden Rocket Band”, “In Therapy”, “Tumberos” and “The fragility of the bodies”, the figure of Germán Palacios It was linked for life with “Art”, Yasmina’s work says that he had it as an interpreter for twelve seasons. That true cult of friendship allowed him to forge a link with Ricardo Darín that endures to date.
Again the theater and Yasmina Reza convene it. “The unexpected man”originally released in 1995, which in our country had a version starring Luis Brandoni and Luisa Kuliok, now presents Germán Palacios in his double facet of actor and director, along with Inés Estévez in an interpretive duel that promises.
The Maipo Theater serves as a stage for the actor’s meeting with news, in a talk to travel through memory vericuetos.
News: What seduced him of “the unexpected man”?
Germán Palacios: The reading of the work fell in love and the fact of knowing the world of Yasmina Reza immersed me even more in the possibility of projecting that material above a scenario, I began to give me a handle as an actor and director at the same time, I could not stop!
News: Yasmina Reza, who is joined by a story by “art” wanted to star in this version?
Palacios: We met her years ago, with my partner Ricardo Darín we have been several times with her, she is a very special person because she is the most released contemporary playwright in the world is already an actress, the acting world understands a lot and values when she sees something that interests her. He likes to exchange comments, with respect to “the unexpected man”, once Inés and I were embarked on the trials, Yasmina came to Buenos Aires and we had the opportunity to see each other, we told him the idea we had about how to face the material. He confessed that after having seen various puts in the world, ours was the one he liked. It was very nice for us, she was delighted with Inés, with her beauty and distinction, because Yasmina is as fine as her materials.
News: Had he already worked with Inés Estévez?
Palacios: We made a couple of films, one was forgettable, of those co -productions with an international cast. The director was an assistant to Bernardo Bertolucci, but he also wanted to be an actor and a part for him was written. It was very bad, poor (laughs), prudently, when they edited it they took out all that and behind it we fly. With Inés we also made another very beautiful movie, “Diary for a story”, about a story by Cortázar.
News: “The unexpected man” is from 1995, had the work update or not necessary?
Palacios: Essentially in terms of its content not much, then, the product of essays and work, we were polishing the adaptation because there is something fundamental in the Yasmina universe that is the musicality of the text, she writes the plays as if they were a score. Conceives dramatic writing as music and that in the text is very noticeable, we with “art” experience it thoroughly, change a comma and modify the meaning because the melody is perfect.
News: Inés and you both act in the work, but at the same time they direct it together. How is that in practice?
Palacios: It is a beautiful experience, it started from the fact that when we started working on adaptation our agreements about where to go with the material were very large from the beginning, from there we found each other spontaneously advancing more and more until at one time we looked at each other and said we are at ease doing the direction together.
News: They were like two companions who prepare a material for a theater class
Palacios: Yes, what a beautiful image. I am going to stay with that because it is exactly like that, we are two people who agreed, we tell what it is, we are very frank, we get along.
News: You have a trajectory that covers decades. Do you remember when was the time when you realized that I was going to live on the performance?
Palacios: Do you know something? I never worked on something else. I started in this professionally at age 20 and the truth is that from there I always had a job. I had the opportunity to make television, theater and cinema. I started very early making films like “Passengers of a nightmare”, that opened the door to another world, I was passionate about the trade. And I also started taking notion of difficulties, but when you are a boy, unconsciousness and desire are more present. As always I knew it was a different trade, I was foresee and careful when choosing what I could do, in developing in a sense perhaps not so traditional and I have enjoyed it very much.
News: Did your vocation always be clear?
Palacios: Look, my grandfather wanted to be an actor and could not because the family did not leave it, I, in parallel while working on this professionally, I studied psychology, I am missing very few subjects to receive me. But there was a milestone, “passengers of a nightmare” premiered in the Great Rex, my dad, who had an inner conflict with respect to his own father who despite his talent had failed to consummate his actor’s vocation, he had many doubts with me and that night Julio de Grazia approached to congratulate him for my work. There a window opened, a heaven of trust appeared. It is nice to know, as in that case, that a child is doing something he likes and that they tell you that he is doing well. It was a push to continue with great force.
News: And at this stage of life what is the engine that moves it in the profession?
Palacios: Now the unconsciousness is less than in the beginning, the principle of reality is imposed more, but although time passes and I have already 41 years ex officio, the passion is intact. For me choosing this is as important as feeding or breathing, I still try to perfect myself, to deepen and risk in this trade so beautiful that it gives us the possibility of expressing ourselves in such changing, chaotic and criminal times. We are very privileged to be able to express ourselves with what we choose, like this work with which I feel identified, that does not always happen.
News: Speaking of works that identify him, he was doing “art” for 12 years. On the one hand it is a blessing, but did that also subtract the possibility of doing other things?
Palacios: Yes, we were with my soul partner Ricardo Alberto Darín. All the time at the foot of the cannon of that wonderful work that is already a world classic. It never happened to me because I am doing something that I did not choose, quite the opposite, obviously I had to resign things because I also like to grab a lot of work at the same time, I do not serve for that, I like to take the pause and the time for each thing. Those 12 years of “art” were so spectacular, so full and vital for us! Beyond the acting, in our personal and family growth, in the shared time, but I felt it as an eye open and close. It happened very fast (smile)
News: When they had to direct with Darín the new set of “Art”, with Pablo Echarri, Fernán Mirás and Mike Amigorena, how was the approach?
Palacios: With Ricardo I have an exciting brotherhood and internalization of the world of Yasmina Reza, so it was wonderful. Directing together I really like, there are four eyes, two bodies. If you are with someone you understand, that you respect and with whom you complement yourself in reading the material is a pleasure. For us it was very nice to reissue this latest version.
News: The other day they asked Bochini if when he sees a classic like Independiente – Racing does not make him want to play again. When they directed the new set and they saw other actors in their characters, they did not want to act?
Palacios: Yes, we took the stage all the time! “Art” for us is a work that tomorrow we could do a function, we know the memory lyrics, we have it in our DNA. It’s very funny, I’m going to tell you a beautiful anecdote. Ricardo was filming “Argentina, 1985” and we rehearsed at the Mike Amigorena multiteatro, Fernán Mirás, Pablo Echarri and me. Suddenly a guy enters the room, Mike half that is scared, we look weird while this person we do not recognize. He approaches the stage, tries to enter the dialogue with everyday life and … Ricardo was characterized as prosecutor Julio Strassera. He had taken advantage of lunch time to come see the rehearsals. Another day, Fernán became ill and Ricardo made his role throughout the essay. He did not have to suspend, he climbed, put the pilcha and spent the entire work. He did Fernán, but he knows how to make the three characters.
News: He mentioned Ricardo Darín a lot throughout this talk, will he see it in “El Eternalauta”?
Palacios: Obvious!
