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Home Culture Alicia Borrachero: “Now I am a better actress: I have lost courage, but I have gained subtlety” | Culture

Alicia Borrachero: “Now I am a better actress: I have lost courage, but I have gained subtlety” | Culture

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Something happens with Alicia Borrachero that happens with actresses who have been seen maturing on screen more or less at the same time as oneself off it. It seems that you have known them your whole life, even if it is the first time you see them in person, and a feeling of familiarity invades you that does not have to be reciprocated by the other party and that can either contribute to immediate complicity, or Well, take it forever. With Borrachero, the first thing happens. I arrive at the meeting place, a trendy Madrid restaurant, wall to wall with the Fernando Fernán Gómez theater, where she will premiere A delicate balance, and I find her chatting with Manuela Velasco, co-star of the play, who is already leaving and leaving her to my fate. When we are left alone, Borrachero —the editor Ana Ruiz in the television series Journalists and Dr. Cruz Gándara in Hospital CentralIt is, or seems, just as one imagines it. Or not so much.

Maybe I miss calling her Ana or Cruz, I hope she forgives me.

How nice what you say. On TV then, but not now, we went into homes at dinner time and were part of everyday life. There were colleagues who came from the cinema or the theater, and they looked at us on TV as something minor. But I had another feeling. While they aroused admiration in the viewer from afar, they saw me as their sister. In fact, I have laughed many times with fellow actresses, when we fantasized that they were going to call us to do advertising. I am clear that they are not going to call me, but if they did call me, it would be to announce something very homemade, like broths, because TV has made me very popular in that sense.

You must have done something for that.

Yes, there is also something in me, in how I understand my work. I became an actress, without knowing it, because she needed to communicate and receive the impact of that communication. Not just for the applause, that too, but for the communication itself. And over the years I have realized that my best works have been those in which something very mine appeared, even if it was transformed into a character.

That is, in Journalists took out the reporter that he has inside.

That example is good because that character was one of the first and I did it with less awareness of anything, out of pure instinct. So, without eating it or drinking it, that Ana Ruiz, so ambitious, so argumentative, so vindictive, had that part of me that wanted to take on the world, to say what I thought and not to let anyone step on me because I was a woman. All that resonated with me and I launched without a net. Now I’m a different age and I do other things.

What have you gained and lost on this long journey?

I have lost courage, confidence, security. I am becoming more and more insecure. Before I would arrive at a theater and do a plank; Now everything scares me more than when I started. But I have also lived, I have experience and I have gained subtlety, calm and tools. But I would like to recover that courage.

How is that done?

First I am in the phase of recognizing it, because I had not realized it until now, on the eve of the premiere of this work. I got to the theater and realized I was scared and I surprised myself. I asked myself, “Isn’t this what you like? What’s the matter?”. She had forgotten that this is my thing and that, apart from the responsibility, I can enjoy it.

Maybe it’s because now he has more to lose.

I have more to lose because I have more built. It is the first time that I am involved in contributing to the production: my husband, Ben Temple, and I have spent six months translating the text. We wanted to invest in theater. I’m sure I’m not the first actress to tell you: the actor’s place is the theater. As the industry evolves, we are so at the mercy of fashion, of relationships, of luck, that I increasingly need to do more theater to be alive as an actress. I hope I don’t stop working and, thank God, I’m still working in film and television, but my love is on stage.

Have you ever crossed the desert?

Yes, and mine, because it hasn’t been a single one, they haven’t been very long, but they have been terrible, because I felt, I don’t even know how to say it, as if they had taken away my identity. It is a feeling of great loneliness, fear, uncertainty, of course, but it is something more intimate. There is a pain, something horrible. Nobody can understand you.

Her husband does: he is an actor.

Yes, but even with him there is a kind of modesty to talk about those things. We are more than a couple. We are a team. Sometimes it’s like we’re the same person. I help him with his projects, he helps me with mine. Some things have gone well for us; others, no. He is more patient and has more self-confidence than me, and he, in his desert times, has it more difficult because he is an American actor in Spain. And yet, he has made his place. He did Upon Entry, the revelation movie of the year. I met him when I was 19 and he was 18. I went to the United States to study drama, but in reality I went to find the love of my life. That’s why I think we don’t control what happens to us in life, both the good and what happens to us despite ourselves.

Alicia Borrachero, photographed at the Fernando Fernán Gómez center in Madrid, where, on April 4, she premieres the work ‘A delicate balance’.Bernardo Perez

How do you go from playing an upper-class lady to Reme, the Bosé’s aunt, and vice versa?

I joke with the colleagues I have made from all social classes. I have had my time as professionals: journalist, doctors. Then I had my time of queens: that of Narnia, Isabel la Católica in an English series, the queen of Granada on TV. Then I started the time of The Maids, in theater. That is one of the most beautiful things about our job. On an intimate level, you get to know yourself more and more through your characters. In the case of Bosé’s dad, getting into the shoes of someone with such a different mentality and environment, but with innate wisdom and love, was a brutal experience. I did it all through the understanding of that love, that devotion of that woman for that family.

She talks a lot about her fellow actresses. Her generation are many and very good. Do you bite each other?

When you really have trust and sincere affection, it is important to be sincere with everything that can be useful and constructive, as an exercise in affection and admiration. Many things have happened to us. Look, there is a phrase that is said in A delicate balance and that I love: “Time happens, it happens to people.” Well, that’s what happened to each of us.

Time also passes through the face. Amparo Larrañaga He told me that he had put a plastic surgeon in the operating room. You, how is he handling it?

I remember when René Zellweger, a wonderful actress, was savagely criticized for appearing transformed, and an American columnist wrote: “You vermin who criticize her, if she appeared on the red carpet with wrinkles and a tummy, you would criticize her even more.” It’s exactly what I think. It all has to do with a madness that is not ours, but society’s, and that, from the media, is almost expected. If you do, they criticize you, and if you don’t, too. I respect everyone. If an actress, or actor, goes under the knife, I’m not going to criticize her, I wouldn’t do it, but anyway because I’ve never lived off my physique, because I’ve never had it. To some I may seem prettier, to others less so, but I am a normal lady. They tell me on the street: you are younger than you look. Are you evaluating me for being young, or for being old, for being pretty or being ugly? Look, no, I’m an actress.

Do you feel rewarded in your profession?

There is a part that is, and another that is not. There is a part in this life that is a mystery, also in the profession. When sometimes you wonder: why so-and-so does these things that I could do too. I, for example, went to the United States and I am bilingual. I have done things there, I have had huge projects that fell through for reasons beyond my control. There has always been something with the United States that didn’t quite come together and I often wonder why. It’s a mystery. Before it hurt me, it frustrated me, but I am beginning to understand that my life is going on a different path. Or not. Maybe something could still happen. But now I no longer have thorns. What I do have is more and more love for my work. When I started I had more ambition, now I have more love.

Isn’t that the vocation?

Exactly, there is no other word. When I have been in the desert I have realized that the only way for me is to continue through it, not turn back, which is a legitimate option, but I cannot. When I understood that deep down I do this for the love of what I do, I began to support myself better as an actress during the hard times. There’s something about me that needs this. What I was telling you about identity. It’s not just the economic issue, the recognition, the ego, which is also there, of course. It is love, vocation. That’s why, when someone asks me whether or not to jump into this, I just tell them: is there something that you like, that makes you happy, and that isn’t this? Do it. If not, this is your thing, no choice.

FOR THE LOVE OF THE TRADE

At the age of 18, Alicia Borrachero (Madrid, 56 years old) went to the United States to study Dramatic Art and, since then, she has not stopped working in a job that, she says, is her life. She rose to massive popularity with her roles in some of television’s most watched series, such as Journalists y Hospital Central, although his refuge, always, has been the theater. In A delicate balance, Edward Albee’s feature that is now premiering in Madrid, plays Agnes, an upper-class American lady with a tragedy behind her whose world, which she has killed herself to keep up, is falling apart. Borrachero, younger than her character, believes that middle-aged Spanish women like her, the boomers, are the first generation that, apart from having joined the world of work en masse and having supported their homes, their families and their projects, have also become aware of their right to enjoy life at all stages. That’s it.

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