PAULA OLVERA-Victoria Freire, actriz española afincada en Nueva York, lleva toda su vida vinculada al teatro, el cine y la televisión participando en series de gran éxito como “Hospital Central” y “MIR”. La intérprete ha estrenado “The Dirty Kind”, la nueva película producida por Michael Madsen, escrita y dirigida por Vilan Trub. Se trata de un intenso thriller que se concibe como una aterradora mirada de cómo todo empieza a ir mal para un político, dos pandilleros, una prostituta y un investigador privado. De esta manera, la historia sigue el viaje de un joven investigador privado especializado en casos de divorcio que descubre accidentalmente un crimen espeluznante y se adentra en un nuevo mundo peligroso que parece ser el adecuado para él.
P: ¿Qué nos podrías adelantar de tu aparición en “The Dirty Kind”?

 

R: Prefiero no destripar demasiado, pero si te diré que la película trata de los bajos fondos de Nueva York y de la gente que se ve involucrada en ellos, a veces de  forma accidental y sin saberlo. Camila, mi personaje, es uno de ellos.

 

P: Ha sido escrita y dirigida por Vilan Trub, ¿qué destacarías de su dirección?

 

R: Con Vilan ha sido muy fácil todo el proceso. Desde el principio se plantearon bastantes ensayos y a la hora de rodar ya teníamos muy destripadas las escenas. El hecho de que sea el director y guionista de la película es algo muy bueno en mi opinión ya que tiene una idea exacta de lo que quiere contar con su historia. También Vilan es muy abierto a la hora de aceptar ideas y propuestas de los actores y nos dejó un margen de maniobra muy amplio para que nos sintiéramos cómodos y aportáramos nuestro punto de vista de la escena y el personaje.

 

P: Se trata de la nueva película producida por Michael Madsen, ¿cómo ha sido el rodaje con este actor?

 

R: Bueno, Michael Madsen se incorporó como productor ejecutivo una vez comenzado el rodaje así que todavía no he tenido ocasión de tratar personalmente con él. Siento mucha admiración por su trayectoria como actor y productor y me siento muy afortunada de haber podido formar parte de este proyecto con todo este fantástico equipo.

 

P: En televisión eres recordada por tu aparición en series de gran éxito como “Hospital Central” y “MIR”, ¿te gustaría algún spin-off de alguna de estas producciones?

 

R: Guardo muy buenos recuerdos de mi paso por ambas series. Desde luego me encantaría volver a hacer otro proyecto con esos personajes y esas maravillosas historias humanas, y con todo el equipo. Si me llaman, voy de cabeza.

 

P: Ahora que la gala de premios Goya está a la vuelta de la esquina, ¿qué valoración haces del cine español?

 

R: Me parece que el cine español está en un momento creativo increíble y que además se están haciendo  muchos más proyectos independientes  y de una calidad extraordinaria. Tengo algunos amigos entre los nominados y estoy feliz por ellos. Desde luego creo que vamos por muy buen camino.

 

P: ¿Quién sientes que te ha ayudado a encontrar tu camino al otro lado del charco?

 

R: A mí me ha ayudado mucha gente desde que vine. Profesores, compañeros de profesión, amigos…No tengo ninguna queja. Cierto es que esto es muy duro pero también se premia el trabajo y si la gente ve que te lo curras, apuesta. No falta gente que siempre te eche un cable. Es un mundo muy competitivo, es cierto, pero yo al menos no veo que todo el mundo vaya a los suyo como se dice. Nueva York es al final una ciudad donde la gente lleva a cabo proyectos de trabajo y cuentan contigo si estás en ello y trabajas. Si no te quedas fuera, claro. Como en todas partes.

 

P: ¿Sientes entonces que hay cierta comunidad entre actores españoles en Nueva York?

 

R: Sin duda. Nos conocemos bastante todos. Todos estamos aquí luchando y buscándonos la vida. Al final Nueva York no es tan grande como parece y una cierta comunidad si hay. Yo ya conocía a alguna gente española antes de venir y, a día de hoy, seguimos en contacto. Al final la tierra tira y es inteligente contar con la gente que es afín a ti por ser de tu país y tu cultura, es bueno que nos apoyemos.

 

P: ¿Qué es lo que más extrañas de España?

 

R: España es una cultura donde la vida social es muy importante y forma parte del día a día. Nueva York es la cultura del trabajo, una ciudad de velocidad sin freno donde no tienes mucho tiempo personal. Realmente al principio te dejas llevar por esa vorágine porque es muy emocionante, pero luego empiezas a notar que te falta algo. Por ejemplo, quedas para un ensayo y luego cada uno se va a su casa porque no hay mucho tiempo para nada, madrugas, vives lejos, tienes tres trabajos o lo que sea… esa falta de tiempo de calidad con tus amigos o tu  familia que está lejos al cabo de un tiempo te va pasando factura.

 

P: ¿Cómo valoras la evolución de tu carrera como actriz, con trabajos en los tres medios?

 

R: Siempre he hecho proyectos que me ha  apetecido hacer y con los que me he sentido cómoda e identificada. Me formé en teatro y ese parecía ser el campo donde más me iba a situar pero luego empecé a hacer cine y televisión porque me fue saliendo mucho más trabajo. Me encanta trabajar en audiovisual por su mayor  intimidad, pero es verdad que no hay nada comparado a trabajar en teatro. Desde que estoy en Nueva York estoy  redescubriendo el teatro  y cada vez me apetece más.  Nueva York es una ciudad donde el teatro palpita en cada esquina. Aunque tengo un par de proyectos audiovisuales en marcha estoy deseando volver al escenario y pensando en un espectáculo que quiero escribir y montar.

         

P: ¿Qué le pides al 2019?

 

R: Que siga como ahora es lo mejor que podría pedir. Seguir trabajando, haciendo proyectos que me emocionen y en marcha.

 

Source: CORREVEYDILE

Victoria Freire has a degree in History and is an expert in Cultural management. What is more, she has a Diploma in Audiovisual Performing. Nevertheless, she sees herself as an actress above all. Consequentially, she has been involved in theate, cinema and television throughout her life. Meanwhile, she has continued to train in order to give her career an international edge.

She is currently living in New York, mastering her English. In ‘Revisa Actores’, we are fortunate to count on her as a correspondent in the United States. We talk to her about the differences between life on one side of the pond to the other, her international experience, her new projects and much more.

How did it all begin? What are you proudest about?

Well, back at school, I did some theatre workshops and I signed up for anything to get up on a stage. You could say an early calling. No a very early one! I spent my days singing and dancing.

I studied piano and classic ballet for many years. Later on, I started Musical theatre at the ESAD (School for Dramatic Arts). What is more, I combined this with a dgree in History, which was a deal I made with my parents who were not keen on the idea of acting, of course….

When I arrived in Madrid, I studied with Ángel Gutiérrez in the Cámera theatre for several years. I would say he was my real mentor. He encouraged me and believed in me at all times. It is a gift to meet people who love this profession above all else and who transmit that love for the art.

On finishing university, I began a doctorate but, my first cinema role materialised and, obviously, I had to choose. The film was “Un Banco en el Parque” (A Park Bench). I have to say that all the work I have done has been an opportunity to do what I most enjoy, which is acting, be it cinema, theatre or on the television. But, some projects have given me even more than that for various reasons. The filming of this first one was a special, unexpected gift for me and I remember it particularly fondly. I had done theatre but I had no idea about the process of making a film and I worked closely with marvellous people from whom I learned a lot. They were the director Agustí Vilá and colleagues such as Alex Brendemühl and Aitor Merino. It is a different kind of film, avant-garde. It was a blessing to be involved in the project. It was both hard and sad to close the book on that character. I learned a lot from her and doing the film helped me develop.

I also affectionately remember a ‘Estudio 1’ (Theatre on television) I did with Fernando Méndez-Leite. It was amazing to work with him, Fiorella Faltoiano, Isabel Ordaz,Juan Luis Galiardo and Jesús Bonilla. I was unaware of the format of theatre for television and it was fascinating to learn this way of working.

You could say that I become very close to all the characters I create and I always give them a part of me. When I finish the project, I always go through a rough patch leaving the characters behind. That is par for course in the profession. This is also what drives me and hooks me to this job and what keeps me ticking, the constant search and change.

Actress, cultural manager, press officer: How do you combine all your professional angles?

I am a very active and inquisitive person and I love trying out new things. The idea of generating my own projects and finding out about the way the profession works has fascinated me for a long time. For this, I did a Master in Cultural Management to learn the ropes of this field which I am so keen on. I like it so much because it gives me independence and I can work on projects from both sides and I can get involved in other projects not only as an actress but also as a manager or producer.

But above all else, what I get most out of is acting, being an actress is my true calling. Whenever a project arises, I get excited and jump in at the deep end. There is nothing quite like it.

This profession demands a lot of sacrifice, not only what you can see. There are many hours of work which peple are unaware of. Is it worth it? Is being an actress just a profession or a passion?

As you said, it is a very sacrificial profession. It requires you to renounce many things. It is very hard to live off and few manage to. In the end, people only value what you have achieved, the visible part of success. There are those who are well-trained and enormously talented but never break though. All there paths there and the energy and sacrifices they have made to get there can be appreciated by nobody.

On the other hand, there is a lack of social comprehension regarding artistic vocations in general. Not only that referring to actors. But, when a person has and feels the need to create, they are put into doubt. It is logical because of the difficulty in making a living in this profession. However, what I think causes most anxiety is the lack of understanding of the need. We live in a society of “you are what you are worth”. At times, it is a fight against windmills.

The question of it being worth it is one I cannot answer. It depends on each person’s life and how they want to manage it. There is nothing like acting for me and nothing makes me as happy and alive as when I work in the theme. Perhaps everything has its time in life and you can decide to leave this job if your priorities change. I do, nevertheless, believe that the ‘need’ would never go away. Therefore, I do think it is a question of passion. When you can work in this field, there is nothing which comes close. It is absolutely worth it for me and I think people should chase their dreams above and beyond all else.

You have always bet on the international market. Is it tough?

It is a different way, a more complex one. You have to adapt to ways of working which differ from those you are used to. This can be extremely frustrating at first because we evidently do not think or move in the same way culturally and professionally.

There is also the language barrier when you are not working in Spanish. However well you speak another language, it is difficult to get used to the sentiment and rhythm when working in a second language. Initially, it feels distant from you because your language is part of your identity. Like in everything else, it is a matter of practice and interest.

What I think is that you should never close doors. This field of work moves from one project to the next. Sometimes these are abroad and they give you the chance to experience and work in other countriesif that is what you want to do. Especially now, in the current professional climate.

It is not an easy path to follow, of course, but it is an interesting challenge.

What is a girl like you doing in a city like New York?

Recently I have been hopping between London and Madrid, doing courses and auditions in both places. But, last year I came to New York where I have lots of friends and I fell in love with the city. I had always wanted to come to the city despite it seeming so far away. In the end it is just an eight-hour flight away but a load of paperwork, too.

In the end I decided ot come for some time. I needed to perfect my English. I have landed here, learning, doing courses and enjoying this marvellous city and keeping an eye on what is going on in the artistic and cutlural worlds around here. It is a very lively and creative city with an incredible beating heart.

You have become the first correspondent for the magazine “Revista Actores en Estados Unidos”. What are you going to surprise us with and what will be your mission?

I have always liked working in the press. There is a lot happening in Spanish culture over here: In Casas de Cultura, Spanish Consulate, Cervantes Institute and theatres.

There are increasingly more Spanish artists and people get together to create projects and combine their energy as in the case of AENY. I would love to keep my colleagues up to date with what is going on here both on an artistic and cultural level. I reckon it is a great way to encourage people to get to know all this in a more direct way while, at the same time, opening a channel of information for those daring to catch a glipse of this amazing city from an artistic and cultural point of view.

There are many Spanish actors who would like to work in the USA. What would you recommend? Is it easy or are there lots of ‘urban legends’?

Based on my experience here and what many Spaniards who have been living here for some time have said, the process for getting the work visa is tedious and complicated. This is not an urban legend. Then there is the matter of the language, the accent. There are many obstacles which complicate the process but do not halt it.

However, I feel everyone should do what they want to. If you want to come here. You should do it and try your best. There are no examples or pieces of advice I can give because everyone’s case is different. There are endless factors.

I clearly encourage people to come over and make a go of it if it is what they aspire to. You never know how it could have gone if you have never tried to do it.

Do you think the crisis in Spain, with a minimal level of audiovisual productions and the high cultural tax rate, has driven people to look for new opportunities abroad?

Undoubtedly. Last year there were more requests for Artistic Visas in the USA than at any other time in history. Not only here, more and more of my colleagues emigrate to London, Colombia, Mexico and Argentina. This is what happens when a country does not appreciate culture as an asset, which should be protected and looked after but something that is an unnecessary expense.

It is a pity that the politicians do not value the cultural partimony we are losing and which will not be recovered for quite some time. Without mentioning the countless projects and dreams which fall by the wayside because of the lack of means and support.

What do you think about the work of the new team at the Actors Union?

I think they are making considerable progress in the materials for the protection of workers’ rights in the industry. At these times of crisis and change, we need more than ever that the union is active and supports us, which I believe it is doing well.
It is also coherent that the union fights on all the platforms which are being created to fight for equality, culture and historical memory. It is a show of respect and integrity on behalf of all artists and as huiman beings aware of the society we are part of.

What are the main differences between the Spanish and American markets?

Well, I would say it is quite obvious that the American industry is powerfully structured. It is a real business, with all that it entails.

In Spain, we do not have that concept of industry and much less so now. The consequences of this are even more evident now that we are a nuisance and an expense.

To cite an example, in New York City, the producers pay less tax if they film here since years ago because they realise that cinema boosts the economy and it is publicity for the city.

How do you see your professional future?

Let’s see. I am in a good place professionally speaking despite the bad situation. I have lots of ongoing projects as an actress and as a producer, which is great because that keeps me active and motivated.

As you know the future in this profession is not controllable. Sometimes things work out, other times they don’t. We all live in the same uncertainty. What is clear is that if you go out and look for things and want to make progress in this field, opportunities appear. So, never give up.

Is it worth betting everything on your passion?

At the moment, there is nothing I like as much in life than acting. I have no doubts that I want to keep on in this profession which is so beautiful yet complicated as long as I feel the desire to do so. That is definitely passion.

 

Source: Revista de la Unión de Actores

1) I would like you to tell us who Victoria Freire is

 

Well, I suppose I’m basically a curious person. I love trying and doing new and different things. I am quite versatile and I have done very different things in my life. I like challenges, however different they are to what I am used to. So, I am a restless person.

Perhaps acting gives me the chance to live different lives. The fact that I can recreate different stories even in other historical periods fascinates me. You put yourself in the shoes of assorted characters, which in many cases haven’t existed. You study the psychological profile, their emotions and feelings. I think all these things that acting gives me I can get from nowhere else. It is a marvellous sensation

In the end, it is a mixture of schizophrenia, anthropology, empathy and psychology

 

2) How does The actress Victoria Freire feel right now?

 

Many of us who live, or at least try to, off this profession are going through a very complicated rut, because of what we are experiencing: the crisis, lack of subsidies and grants and general malaise. A long time will pass before things return to their rightful places, clearly.

In spite of everything, I am in a good place personally at the moment, maturing as an actress. I believe you should never stop training, of course, but I see myself in a phase where I am discovering resources which I did not realise I already had. I am looking for new ways and even places to work and continue my development which I had previously not considered. This is good because I keep up momentum, learning and opening my horizons to new sceneries and means of work like many colleagues

 

3) I imagine that dedicating your life to a vocation which is so unconditional like acting must be a strong feeling. But, How does it feel when at last you study and train in it and finally one of your dreams comes true and you give life to a character?

 

This is a profession, like you said, of an unconditional vocation. You have to give up many things and face a lot of lack of understanding, be it personal or social.

So the feeling and the vocation are there, because you carry on despite all the obstacles. When it is time to work, it is a great responsibility for me because it is a dream I have been cherishing for a long time now. There is a lot of work behind me and you are risking everything. You want everything to turn out perfect and hope that all the years of training and waiting help you to give it your all.
When things finally kick off, you feel how it has all been worth it and it balances out all that you have been through. For me, there is nothing more enjoyable than acting or the process of creating a character. This feeling keeps me addicted and keen. It turns out that we are a type of junkie.

 

4) You are an actress with a large background and experience in different kinds of productions such as theatre, cinema, television and web series. Do you have a preference?

 

I get hooked on projects which make me develop and move me and which excite me as an actress. The format is a question of technique. And you need to adapt yourself to the requirements of each one. Nevertheless, at its base, the way we work as an actor is always the same.

I always say that there is nothing like the theatre. The working process is much more interesting than in television or cinema because in Spain, with infrequent exceptions, rehearsals are not held or are minimal for films. You also feel more protected in the theatre because there is more teamwork. Although cinema has marvellous end results, the filming process is usually tedious, with long waits between takes. Naturally, the method usually dominates the actor and limits him or her.

What is more, being on a stage give the sensation of immediacy and direct contact with the audience, unlike in the audiovisual world. The theatre commands much more respect for me than the cinema or television, that is true. On the eve of a performance I am regularly tremendously nervous.

 

5) It is said that an actor establishes him or herself 100{62f0c76df24593de279826382aef0073b9287233a1b5b5aef5be36bb1e9d0d38} when they take the stage. You have done this several times in diverse plays. If you had to choose one of the plays you have performed in as your favourite, which would it be?

 

I reckon the two most recent ones: A microtheatre play called “Final Feliz” (Happy Ending) by Santiago Pajares and a comedy we performed in the Café Teatro Arenal, “La Mujer X” by Javi J Palo. This is because both were comedies and projects with people who I had already worked with who I knew very well.

There was a lot of improvisation and agreements between us to change scenes and even sections of text.

I like feeling that an actor is listening and aware because that gives the project a common goal. The end result was outstanding. The plays were very entertaining and fresh. I love noticing that evertone is having a good time. This encourages you to take more risks and try out new things.

I was used to deeper and more classic projects. Doing these plays was a breath of fresh air in terms of atmosphere and register which I appreciated.

 

6) What would you say if you were asked about a theatrical character or profile which you would love to play?

 

Whenever I am asked, I give the example of Antigone as a Greek tragedy: The woman who defended her convictions and morals above all else, even her life. A human being with an iron will which has always moved me.

Another example is Nina in Chekhov’s “The Seagull”, one of characters I most admire: Her fragility and, at the same time, her bravery. The quest for a dream. She seems to be a complex and wonderful character.

Generally, I have a soft spot for honest roles, which represent a way to move through life with the energy which gives them integrity.

 

7) Your cinematographic career has also been extensive. You have worked with many professionals and even presented the films at several festivals. Which of the film projects do you consider to have been best for you, in as much as learning?

 

I would say that the first thing I did in the cinema, which was a film called “Un banco en el parque” (A Park Bench) by Agustí Vilá.
I had done very little audiovisual work beforehand. I had been working in theatre and had no idea about the cinema world nor the way it ticks.

As it was a film of long takes, it was not especially complicated for me in terms of technique.

It was a wonderful project. We did a lot of rehearsals and I worked beside marvellous professional people, who helped me throughout. Furthermore, the role was a treat and I was very sad to let her go when we finished.

I am very keen on this film. I feel that the final result was a brave feature film, far from the habitual content of conventional Spanish cinema. It is a diamond. In fact, it spent time on the international cinema festival circuit after being presented in San Sebastian. It was an unexpected pleasure and I really appreciate having been involved.

 

8) Recently, we have seen you in a web series. It seems that digital formats are opening the way to wider opportunities not only for the audience but also for the actors. Do you think so?

 

Indeed. I think this a moment in which we have to search for other alternatives. I see it as an effective way to manage and carry out projects without having to count on the support of a producer. This gives us freedom and takes away the dependence we have been forced to follow until now. This is not only for the financing. There are some brilliant ideas which fall by the wayside while waiting for the right moment, which is a pity. We all want to work and generate projects and the digital formats lets this happen. Additionally, the actors clearly benefit because it allows us to work in projects which appeal to us and which we will be seen in.

Another advantage is that this means easily arrives everywhere, which gives you very quick projection. That is what the Internet is about.

 

9) Recently, there is a widespread tendency to performing plays of a limited length, also know as microtheatre. Would you like to work in this format?

 

I have, in fact, already worked in this format and I adore it. I performed a play written and directed by Santiago Pajares called “Final Feliz” (Happy Ending). At first, the feeling of having the audience so close can be overwhelming. However, later, you get more confident and you allow yourself to work expressively in a very natural way, which I love. It is almost like having a camera in front of you. Besides, having the audience there makes it easier to pick up where to take things throughout and you let yourself make gestures which would be more complicated in other formats.

 

10) Looking ahead to the next few months, What projects are on the way in the career of Victoria Freire?

 

Well, I have a couple of things in the pipeline. They are not confirmed yet. One is audiovisual and the other is a play.

So, cross our fingers and we will see what happens.

fotografias by Michael Wharley

Source: Diario de una reportera

– Do you remember the specific moment when you decided to become an actress, and why?

Absolutely, I always tell people that my aunt is to blame. She toom me to see the musical ‘Annie’ when I was seven years old. I was captivated, watching all those girls singing and performing on stage. So, clearly, there was no way out. Obviously, I quickly learned all the songs and persuaded my parents to let me go to after-schoo, theatre classes.
– Who was the first one you talked to about this and what did you say?

When I was at school, I was in a drama group. We won several competitions and we toured a little. At this point everyone around me knew I was really into it.
My parents really did not like the idea. So, I continued to train in Theatre Arts as well as study a degree. This was our agreement and , therefore, everyone was happy.
I studied Geography and History. I do not regret this as studying has been one of the highlights of my life. I believe that university life gives you a solid cultural base to structure and understand the world.
– If the phone rang and it was a great director offering you a starring role, who would it be?

Good grief! Given the choice, I deeply admire Ken Loach, Michael Haneke, Woody Allen and Almodóvar…
– What do you think is the biggest problem for Spanish Cinema?

I reckon that the causes are enormously varied. Presently, we could make a long list of things which are common knowledge: Lack of subsidies and financing; general economic crisis and a government which not only dismisses protection of culture, but also makes things worse by making unsuitable cuts and increasing the notorious cultural VAT. There are many factors. Tbe situation is ver serious. These are years which will take a long time to recover from.
– Is there a creative solution?

Well, I think they are creating means of financing in ways which, until now, were inconceivable, at least in this way.
People look for whatever means possible to make a project happen. This is a tough time for us all and we need to support each other. Crowdfunding is a great way to fight for these concepts.
I have noticed that, on the one side, many people are struggling to do what thehy love by doing short films, web-series, small theatre productions, drama groups and low-budget feature films. This is great becuase they do not give up and make an effort. On the other hand, there are those who who fall into the habit of constant complaining. This can be good whe n the criticism is constructive and vindictive, we have a right to this. But, I am not sure it is worthwhile.
– Tell me an actor or actress you admire

Wow. That is a difficult question. Only one? I adore Natalie Portman. If I could name a couple more, they would be Al Pacino or Sir Anthony Hopkins. They are not actors, they are monsters.

 

– What film have you seen so many times that you know by heart some dialogues?
“Blade Runner” I first saw it many years ago- I have watched it again many times and, recently bought the Blu-Ray.
As a cult film, I would say it is one of the most influential in cinema history. It is a masterpiece, the photography, the setting, the dialogues, the presentation of a socirty in complete moral decadence.
I know some of the speeches in English and in Spanish. Previously, we did not see as many films with subtitles as we do now. As you can see, I am a real fan.
– Do you like watching yourself in the performances you have done?

I do not usually watch my past performances, although I think it is a good idea. In retrospect, you can observe things which you do not like or which you would do differently now. It would, however, be a good point of reference. Actors evolve and learn. This is the central point.
– Are you impulsive or straight-laced?

I am quite straight-laced. I am the kind of person who is overloaded with endless lists of things to do, calendars and tables. I am very organised. Some times, too much so.
Having said this, when I have a good feeling about something, I follow it impulsively and rarely regret it.
– What would you like to be doing in five years’ time?

I would like to be able to persue my beloved career and have a wholesome private life. After all, work is not the be all and end all.

Source: Noticias Gran Vía

Victoria Freire

Source: Palomiteliciosas

[blockquote width=’100′]
«Being able to continue working in this profession is a gift»
[/blockquote]

Television, theatre and, mostly, cinema. The CV of María Victoria Freire shows us a multifaceted actress who has spent half her lifetime in this complicated career of acting.
In cinema, her most notable performances are Alicia in the film «Un banco en el parque» (A Park Bench) by Agustí Vila, produced by Fernando Colomo or as Almudena in «Un año en la luna» (A Year on the Moon) by Antonio Gárate. On the television, she made a name for herself in hit series like Hospital Central and MIR, among others.

Throughout your long and varied career as an actress, you have been involved in five very different plays. What does theatre mean to you, María Victoria Freire?

For me theatre is, undoubtedly, as David Mamet said, ‘the search for truth. It is not important what you say but that what you say comes from your heart’.

Theatre is a demanding process for an actor, with many rehearsals and a lot of teamwork. The character goes through constant changes and becomes enriched with each performance. Every day the actor discovers new things to bring into the personality.

If we compare it to the cinema, for example, even when the result is a marvellous film, the preparatory work is often tedious with long waits and the work does not depend only on you. There are also the factors such as lighting, sound and camera.

In the theatre, it is not possible to do a second take. The connection between the character and the audience is more unique and intense. It is a sensation which I adore although I do admit to getting nervous on the eve of a premiere, there is a great weight of responsibility.

What on stage experiences stand out for you?

I have enjoyed every experience, sincerely. Nowadays, I am very keen on the ‘micro-theatre’ concept. It is intimate and allows you to make more personalised gestures to the members of the audience, which would be lost in plays performed in much bigger theatre halls.
It is a way to do theatre without having to depend on the enormous infrastructure and production requirements, resulting in greater freedom. The actors, therefore, have the opportunity to create their own stories, produce them and put them on show on their own.

If you could choose to do any play and any role in theatre right now, what would it be?

If I had to choose, I would opt for the character in the tragedy of Antígona. In my view, it is the most fascinating story in the history of theatre. A strong woman who defends her convictions, the love for her brother and the loyalty to her family against all around her: Society, Earthly laws. Antígona challenges everything to defend her ideals and dies for this. I think she is a moving and amazing character.

Theatre, cinema and television. Varied roles. Tell us about your goals.

Being able to continue working in this profession is a gift. As long as projects that motivate me keep appearing, I will continue working in what I love whether it be in the theatre, in the cinema or on the television.
I have always believed that we actors should be attracted to projects that captivate us and those which encourage us to be creative as artists.

However, it is obvious that we sometimes have to do some less appealing jobs to put food on the table and pay the bills, especially in these times of crisis. But, this is part and parcel of the day-to-day life of many artists. You have to accept it and keep fighting for your dreams and goals.

What projects do you have in the short and middle term?

I have two projects which are not yet confirmed. One is a theatrtical production in the nearer future and the other is an audiovisual one. I will say no more, for fear of jinxing them.

We have seen you in prime-time TV series such as Hospital Central and MIR. Do you think television is a fundamental stage towards gaining success or just another part of the process?

I think television is a great platform to make a name for yourself. It is evident that TV makes a quick impression on the popularity of an actor. The theatre and cinema are less influential.
The more you are on television, the more people see you. This is the case for the public as well as the industry. If you are in the public eye, you are more interesting for the professionals due to being well-known and a safer bet.
Having said this, I do not think it is essential to work on television. There are many ways to form a career. An actor must know how to develop one which best suits him or her and towards an objective which they desire. It is not, however, always possible to pick and choose.
Recently, things seem to be in an incessant process of change. But there is an open debate about actors’ work and the current situation. I mean that we are always seeming the same faces everywhere and, as a spectator, it appears complicated for an unknown actor to get a look in. What do you think about that?

It is more or less as you have described it here. Thanks to a series or a film made for television, you get seen. People remember your face. This is what the producers often look for: to cast people who attract the audience. This makes them more confident in you and you get more callbacks. Nevertheless, if the director likes you, they will do whatever is necessary to get you on board. That is true.

Getting your foot in the door is the dream of many actors because we all know how it works. This is the situation in other countries as well. Look at British series, for example. Actors tend to go from one to another. The only thing is that here we experience it in a more sanguine way becaus the industry is smaller, even more so now. There are a lot of people and very little work.

Most of your career has been in the field of cinema. What do you think is the current climate of Spanish cinema?

I reckon we are going through really hard times in the cultural sector at large. As far as cinema is concerned, we have all born witness to the dramatic fall it has experienced for some time now.

It is a shame but as time goes by, producers go under and projects fail to bear fruit. We are in a period of absolute desperation and with no protection from the government from the economic situation in general and without any form of grants or subsidies.
People are developing means of financing which can be seen as desperate pleas for survival. They search for whatever they can get to realise a project.

It makes me very sad, not only because it is my profession, but also because cinema is an important element of national cultural heritage, which is diappearing. After this stall, it is going to take a great deal of effort to get started again, believe me.

Finally, to bring the interview to an end, a dream…

To be able to make a living in this profession as long as possible. I am trying hard to do this and continue with the same eagerness I have always had.

Source: En el andén

Today, in the blog one of the true breed of actors has turned up, drama is something which runs through her veins with such force that she could not imagine herself doing anything else. She has performed in all styles: We have seen her on the big screen in ‘Un Banco en el Parque’ (A Park Bench), for example, produced by the master of urban comedy Fernándo Colomo; She has also appeared on the small screen, directed by Fernándo Méndez Leite, in the memorable programme which was incomprehensibly dropped from the schedule, Estudio 1, ‘Usted Puede Ser un Asesino’ (You Could be a Murderer), sharing protagonism with the great Juan Luis Galiardo, Jesús Bonilla, Fiorella Faltoyano and Isabel Ordaz, among others; she has, also, unsurprisingly taken to the stage, recreating Beckett’s Acte sans Paroles (Act Without Words I).

DETEATRO: Victoria, you have performed in all styles. But, do you remember the moment when you decided to dedicate your life to this profession?

Of course, vividly. I must have been about seven and my aunt took me to see the musical, ‘Annie’. I was utterly fascinated with all the girls singing and performing. I wanted to be up there. I left that place on a theatre cloud. Evidently, soon afterwards, I learned all the songs from the musical and, actually, I started to study Musical Theatre at the ESAD (Escuela de Artes Dramáticos – Drama School) in Murcia. As you can see, ‘a little later’, here I am, enthusiastic with this profession.

DETEATRO: Clearly, it is a very tough world and the beginnings are never easy. Even people like Antonio Banderas has had to sleep rough when the money ran out. Have you has such an experience before your first break?

No, fortunately, I haven’t. I have many colleagues who have had some very tough times. When things got complicated, I took on various menial jobs, such as a waitress or a teleoperator. I have also looked for alternatives. I combined my theatre studies with a Degree in History and a Master in Cultural Management. I have worked in these fields at times, despite theatre being my true calling.

DETEATRO: Now that we are casting our eyes to the past, which performance are you most proud of and why?

Well, undoubtedly, it is my first cinematographical project, ‘Un Banco en el Parque’ (A Park Bench) by Agustí Vilá. It was an unforgettable experience. I was awarded with the co-starring role, after several screen tests. I had barely done anything and I did not expect anything.
For me, coming from the theatre world, doing a film with single takes of upto ten minutes was a gift at the same time as a professional challenge and a steep learning curve. Therefore, having a month of rehearsals was a luxury which is not common in many productions. The end result is an unconventional and adventurous film, which exists outside the conventions of commercial cinema and I am proud to have taken part in such a project.

DETEATRO: Of all the people you have come across in your professional career, who have you most learned from? Who has had the greatest influence on you?

I have learned from many of them. I have been lucky enough to work with people who give their all to the profession and are generous with their co-stars, such as Alex Brendemühl and Agustí Vila, the actor and director who I worked with in “Un Banco en el Parque” (A Park Bench), as I have already mentioned as my first role. I had a great time and learned what it is to work in a team, with a group of people empassioned in their work, treating it with the great care and respect which it deserves. Fernado Méndez-Leite gave me my break in television with Estudio 1. It was here that I first worked in a style it ws not acquainted with, televised theatre, in which the keys of comedy in front of the camera are different. It was Fernándo and my colleagues Fiorella Faltoiano, Jose Luis Galiardo y Jesús Bonilla who taught me what to depend on and they gave me a hand I will never forget with their extensive experience know-how and generosity.

DETEATRO: You have been involved of a wide range of television series like «Hospital Central» and «MIR». To what extent do you think do you think television and its impressive repercussions help to find work afterwards?

Quality television series as in the cases of “Mir” and “Hospital central” alow actors to do a good job which can be seen by a multitude. On the one hand, it is a fantastic means to make a name for yourself, as much in ther eyes of the public as the professionals, doing performances which m ay otherwise go unnoticed, given the excessive numbers of people working in this field and the resultant scarcity of work.

On the other hand, television is a very immediate means, people get used to your characters very quickly and actors become popular. This is something the producers work hard to find by placing their trust on professionals who they already know and have proved themselves to be popular beforehand.

DETEATRO: The history of the theatre is filled with marvellous female characters like Fedra, Antígona, Medea, Celestina, and many more. Which of these would you most like to play?
There are so many, I wouldn’t know where to start. Among them, the character of Antígona is especially appealing to me. The strength and the coherence of her character give her a powerful magnificence. She follows her own moral code in spite of the threats around her and she adheres to her convictions. I hope to have the chance to play her one day.

DETEATRO: Increasingly more of our actors gets their break in Hollywood (Penélope, Bardem, Banderas, Paz Vega, Jordi Mollá) Would you like to follow in their footsteps or do you think European cinema has better roles to play?

I think what should attract an actor to a project is a desire and passion to ghet involved in what they can and want to participate in. After all, this is a wonderful profession, which is usually totally vocational. If these projects are abroad than they should go there. I would travel to either Europe or to the USA. In my case, I would not hesitate to move to another country for an interesting job. I am open to whatever comes up.

DETEATRO: Bringing things to a close, what are you currently involved in?

Well, two unconfirmed ones which I cannot say much about at the moment. One is a theatrical play based in Madrid and the other is a feature film. Fingers crossed.

Thank you very much, Victoria Freire, for sharing your time with us and we hope all your professional dreams come true. See you soon.

Source: deteatro by ricardo garcés