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Home Culture Marcel Borràs: “People like to see swollen egos, a disease that will take over us” | Culture

Marcel Borràs: “People like to see swollen egos, a disease that will take over us” | Culture

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Marcel Borràs (Olot, Girona, 34 years old) does not like to speculate, but he defends that, in art, it has always been necessary to copy. His alliance for years with Nao Albet for the stage has largely renewed the language of theater in Spain with works such as Mammon; Robbery, beating and death an Agbänaspach, o Falsestuff. He has been an actor since he was 12 and a regular in series ranging from Red Bracelets to now Greyhounds, The Immortal o This is not Swedenwhich he shot together with his current partner, Aina Clotet.

Ask. What does it say there on your shirt?

Answer. Ego Cancer, this is exactly what our latest creation is about, which bears our names: By Nao Albet and Marcel Borràs. A work by us, performed by us, on topics that affect us. People like to see inflated egos. This disease will take over us.

P. But won’t she have a cure?

R. No, none.

P. Where does your love for theater come from?

R. From a very young age. I started doing it in Olot with a fundamental person in my life called Pep Mora and he died very young, in an accident. He was my teacher and ran the town school. He had the ability to create a work that talked about our problems with 20 students and involving us all in the same way. We were fascinated by him. When he died it was a trauma, I was 10 or 11 years old. He was very luminous.

P. His theater with Nao Albet is a combination of passions: music, art, clown

R. Cinema… It’s one of our crazy things. For me, Lars von Trier was a discovery, with Europa o The idiots. I studied artistic baccalaureate and I did it on Danish Dogma cinema. I even filmed a movie following their rules, their decalogue. I sent it and they listed it as number 168.

P. So you didn’t even consider dedicating yourself to anything other than the show.

R. No, what’s up. I have always been an actor, my desire to be in the theater arises from the vocation to perform, but over the years, Nao and I became interested in other areas. We both studied Comparative Literature at university and we also wanted to write.

P. His theater defines very well the era in which we live culturally. It is pure eclecticism.

R. I don’t think postmodernism is over yet. We continue in the assumptions that its theorists formulated in the 60s. Unite the forms to pervert them, question them or put them back into value. Yes, within an eclecticism.

P. Eclecticism is also copying. Something they tried in Falsestuff. Do they know how to do it well?

R. Appropriating something is a technique that cannot be escaped and has always been done. If you want to tell something and do it well, you will take the pieces that suit that. The need to play also comes into play. Explore and break, travel from one place to another transversally, be expansive on a creative level.

P. Copying is natural, but imitating artificial?

R. Imitation can be a subtle art, too.

P. As an actor in series and movies. He has drawn attention to Greyhoundsas an ambiguous character who moves in the world of power, in The inmortal, a neighborhood boy and in This is not Sweden as a new paradigm of parenthood. Where is it most recognized?

R. I wouldn’t marry anyone completely, but I feel comfortable in all those spheres. I try not to pigeonhole myself in this. It’s not like I get millions of offers, but enough to do different things in the middle of the game.

P. In GreyhoundsFurthermore, he developed another aspect: the Oedipus complex.

R. The character focuses, for me, on that conflict, but he does not recognize it. And he has a hell of an Oedipus.

P. And you?

R. I don’t.

P. What is your complex?

Manuel Borràs, with his partner Nao Albet, on the right of the photograph.
David Borrat (EFE)

R. I have a problem with responsibility. Since I was a kid I have taken care of her. I feel it as a way of being in the world. Injustice appeals to me and I feel responsible when it comes to constantly doing something to fight against it.

P. Does that mean that he is also someone very neat and orderly?

A. Neat, no, but quite orderly. But if I talk about myself, I speculate. When you tell something about yourself, what does it count? What you have been told it is, what you think it is…?

P. It seems like he wants to put me inside one of his works.

R. No, this is real. But maybe a friend who knows me comes and doesn’t agree with me. That’s why I find interviews very difficult.

P. OK. Where do you want to go in life?

R. That more and more, whatever you do, you face it out of vital necessity. The best time I have is when I feel pushed by a story, when it becomes an absolute priority, when you believe you should do it.

The director Félix Viscarret and the actor Marcel Borràs on the filming of 'Galgos'.
The director Félix Viscarret and the actor Marcel Borràs on the filming of ‘Galgos’.Manuel Roman

P. Is that passion or fanaticism?

R. It is a passion close to fanaticism. Too much responsibility leads to fanaticism, back to that.

P. Aren’t you afraid?

R. Of course, of course, whoever in this profession says they don’t feel it is the one who suffers it the most. Although you should also try to relativize it. And it’s often good to know that what you should do is have fun with it and learn from it. Stop and see yourself observing the talent of those around you. The actors that interest me the most are those who, when I see them, seem to come off easy, simple. Another key that attracts me.

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