The public still remembers it for endearing fictions such as “Son de Fierro”, “Wolf”, “Sweet Love” and “Papis lords”, in times not so far in which people turned on the TV to hook themselves with stories starring local actors and actresses. He knew how to shine in the audiovisual with “Apache, the life of Carlos Tévez” and in this 2025 he was part of “Homo Argentum”, the most watched Argentine film of the year.
Beyond those achievements, Vanesa González He built his most solid interpretive path in theatrical discipline, with a tour that includes works such as “August”, “Ana Frank’s newspaper”, “All were my children”, “Begin” and “Jauría”. It was directed by Gael García Bernal in “Fantastic exercises of the self” and by the remembered Daniel Fanego in “After the essay.”
Recently joined “Coherence”an enigmatic and fascinating theatrical proposal, with a decisive character in the plot, responsible for an impressive resolution that gives meaning to the story providing the coherence to which the title refers.
Café in between, in a restaurant on Corrientes located in the epicenter of the Buenos Aires cultural activity, Vanesa González lends itself to the talk with news, willing to travel the unfathomable paths for which the conversation leads.
News: What seduced it with “coherence”?
Vanesa González: The first thing that attracted me was the group, my colleagues, with some I had already worked and with others not, but I wanted to meet them and exchange. The theme was also very attractive, doing a science fiction theater work is somewhat little seen on a stage, accessing the secret of how something like this is built gave me a lot of curiosity. In this case we have a film director, Hernán Guerschuny, who gives him a lot of visual resources, in addition to Matías Sendón who is a genius with the lights. There they dialogue a series of elements that are of great help so that the actors can put the body in another way, because it is not a work that relates from the everyday. While anchoring is a group of friends who come to dinner at the night in which a kite passes, from that supposedly natural fact other realities begin to emerge and the characters must interact with their other versions that inhabit different dimensions.
News: I remember that with Gonzalo Heredia he had worked in “Wolf” …
González: Yes, science fiction joins us with Gonzalo! (He laughs) He had already labated Guille Pfening in “Dulce Amor”, with Laura Cymer we meet of a lifetime, we have crossed a thousand times and we always wanted to do something together, we were finally given. With Mey Scapola he had done nothing, but with his mother (Mercedes Morán).
News: Was it started from a very young age to study theater with Lito Cruz?
González: Yes, I started at 12 at the College of the noble beasts in Banfield, I am from there, I started studying with Lito Cruz directly in the adult group. As a little girl I already knew that I wanted to be an actress even though there is no artistic history in my family. I always enjoyed the theater very much, before sleeping every night I repeated: “I want to be an actress,” was that recreational idea of putting the body and living another reality, my desire was not to disguise myself as it happens to other boys when they are going to see theater, mine did not go through the aesthetic, I died to get on stage. I wanted to be there and make my own version of what I saw, I started working since I was a child and I found a giant passion, with the theater something very strong occurred that took me completely until today.
News: Last year we saw her with Gastón Cocchiarale in “Start”, where he made a bold woman, with a lot of initiative. Is the theater a place to put aside modesty and shyness?
González: I don’t know, maybe you have to throw yourself into the pool with all that and see what happens, the theater is pure risk. Always before going on stage, I say: “Why, whyeee?” (laughs) I could be in my house taking a coffee, but I love that risk, I like adventure and adrenaline. Then there is a mystery that is the miracle of acting, you do not know how it happens, but you are willing to tell that story as it is, there is something inexplicable that gives you the concentration and pushes you to continue.
News: Alberto Ajaka spoke with a lot of admiration of the character you did in “Apache”, that kind of Italian mamma that he played in the series. How do you remember it?
González: It was spectacular! I did not know Strong Apache, having the opportunity to film in the neighborhood and interact with the people who inhabit it was special because that place handles a very strong energy. Accessing what happens in the dynamics of coexistence and seeing the claw of those people to face reality every day for me was an unforgettable experience. Filming with Adrián Caetano, with whom he did not work since we had made a chapter on Eva Perón’s nurse in “Clinical History” for Underground, was irresistible. Imagine that the proposal was to be part of this family to tell the story of Carlos Tévez, with Alberto Ajaka, an actor I admire a lot and also with Sofia Gala. I have the best memories.
News: Speaking of unforgettable casts, you worked in “August” with a group of huge figures such as Norma Aleandro and Mercedes Morán. How did he live it?
González: It was a rump that! It was a giant cast and the work lasted three hours, with a 30 -minute interval where we ate empanadas. It was the product of a time when the text theater had a lot of value, works were produced like this, behind “August” was Daniel Grinbank who was my representative at some point. It was a barbaric experience.
News: Today does not have so much weight?
González: Today the theater is very diverse and that is great, there are infinite options, not only on Corrientes Street but on other sides such as Arthaus and the independent circuit. What happens is that there was a time when the commercial theater of text worked very well, the room filled a work by Arthur Miller, today I do not know if that would happen with the same material, it is difficult to find something like this today within the commercial theater, now there are more Living works.
News: He mentioned Arthur Miller and “August” was directed by Claudio Tolcachir. It is seen that she liked her work because she later summoned her to make “all were my children” with Lito Cruz. How was it to have someone who had been his teacher?
González: Yes, there were Lito Cruz and Ana María Picchio, another divine group. For me it was an honor to share with Lito because he was someone unforgettable, a very generous person when teaching, a deep theater lover, a great teacher in every sense, working with him was a beautiful gift.
News: This was a very Shakesperian year with the reversal of “Ricardo III” that Joaquín Furriel plays. You made Lady Macbeth, how is your link with Shakespeare?
González: Yeah! I made “Macbeth” directed by Carlos Rivas, with Gabriela Toscano and also “Otelo” with Martín Flores Cárdenas at the Regio Theater Theater Theater of Buenos Aires. Shakespeare fascinates me, every time I connect with his work I say: “Everything is here!”, It is a very generous material to act, one thinks that they are difficult texts and are actually so well written, there is so much predominant poetry, they are like a religious prayer that cannot stop flowing.
News: One of the most prominent films of last year was “El Jockey”, there was Daniel Fanego who directed her in “After the essay”, how do you remember it?
González: “After the essay” was the last work he directed, I remember it with a lot of love. He was a very strong man, with high thoughts, an incredible person, an actor. It is very difficult to find actors like him, with that formation and that weight. That the director is an actor always helps because there is a matter of empathy with the role, you saw that the actors are always in trouble, because you get on stage without knowing what body you are going to use.
News: Throughout the talk he mentioned several times to put the body. When facing a work prioritizes that and then everything else is coming?
González: When I say put the body I mean to live it, to be inside. I always prioritize that because there is something to inhabit the space that is intuitive, genuine, it does not have so much to do with analyzing everything intellectually. But first is the lyrics! Without that there is nothing and then the body comes. Of course, once you know the lyrics, try whatever you can think of.
