That life is a shadow only, a poor actor who consumes his turn on stage and disappears, learned Tina de Jarque that afternoon of November 1915, on the central track of the Tívoli circus in Barcelona, ​​next to the still hot corpse of his father. Tonitoff clown, Antonio Jarque - his nickname chose him for his triumphs in Russian circuses - had collapsed in full numbers, vomiting the blood of a fatal tuberculosis. They removed their corpse from the sand and the show continued. Little Tina would never forget that lesson.

Constantina de Jarque had released the first wandering on January 25, 1906, in Barcelona, in a sacred line of antipodists, clowns and fantasists. The circus staggered like an old mastodon, cornered by the cinema and the coupees, and she wanted to get off her back. Equipped with an electric energy, the girl flashes around the variety theaters. Play your cards and put on the table a brunette and exotic beauty, accompanied by a voice as resultona as caressing. Win a beauty contest at the Novedades theater and from there jump to Romea, with the great magazine company of Eulogio Velasco. Say goodbye to the happy 20s by participating in the colossal triumph of the magazine Golden Orgy (1928); the public chants and applauds their "hottie" number ("if you don't know how to eat it / put it here and press / notice on the palate / I don't know what I do know") . The girl strengthens her star status and inflames the enthusiasms of the European and American public. At some point our bayadera dares with an integral nude, which causes sicaliptic euphoria in the armchairs.

The 30s are installing a vertigo of gunpowder and macerated hatred, while she continues to triumph in the celluloid and tables. The Madrid lords bustle with the gossip of their loves; the most famous was his romance with boxer Paulino Uzcudun. In 1934, he dreams of abandoning the scene and buys a farm in Arturo Soria, then on the outskirts of Madrid. The Civil War truncates its plans. He surprises her by acting in the Zarzuela theater and shooting a film as mysterious as bizarre: the melodrama Carne de fierces, directed by the Valencian anarchist Armand Guerra (named after José María Estívaliz's trench). In the movie, Tina shares the spotlight with French star Marlène Gray. The script seems to follow the bizarre steps of the biography of the Catalan: a boxer depressed by the adultery of his wife and in professional decline, falls in love with a circus artist who dances naked in the lion's cage. Filming began in the Retiro Park two days before the fascist uprising on July 18 and that was no longer fixed. Because of the lack of war, the Unified Gastronomy Union had to take charge of the feeding of the hungry beasts, whose nervousness threatened the integrity of the actresses.

Civil war

The war advances. It seems that Tina collaborates with each other, until in November 1936 the Sevillian Abel Domínguez, payer of the Andalusia-Extremadura militias of the CNT, stops her. He had discovered a Falangist flag in his dressing room, after acting for the Republican militias. He is accused of "horizontal collaborationism" and fifth columnist. He remembers his transfer to Valencia to be tried, but on the way Domínguez falls in love with the cabaretera and they decide to prepare the escape. They carry 10 million in gold and other jewels from the looting of one and the carnal treatment of the other.

Here the story acquires color of legend. It is assumed that the couple was arrested in Castellón, when they were about to embark for Argentina. They are shot by fellow libertarians of Dominguez, in January or February 1937, right there or in Paterna, according to the story of a cousin of the cabaretera. Tina de Jarque would have died at just 31 years old. The prosecutor of the General Cause after the war - the process that instructed the crimes committed "during the red domination" - asked for information on the fate of the bodies, fruitlessly; hence, over time, some have wanted her safe from bullets, protected by the rumor of her shooting, in the south of France, waiting to return with another name, with another life. However, everything indicates that, in some ditch, the bones of the anarchist in love and the clown's daughter sleep confused.

That life is a shadow only, a poor actor who consumes his turn on stage and disappears, Tina de Jarque has always known.

According to the criteria of The Trust Project

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