• Julia de Castro. "The anthem should be like 'Sighs of Spain'

From Julia de Castro what is most surprising is that it is a normal aunt. You are sitting in front of a woman who has walked through Barcelona with a bullfighter jacket but without panties, who has completed a decade of comb and crucifix but topless, a militant feminist but who defends the legalization of prostitution, and of course, what impacts is their normality.

Julia de Castro is her buts , but now she lives them calmly. They say of her that she is transgressive, provocative, subversive ; she defines herself as "reckless", then qualifies: "Brave, the reckless is not aware of the risk."

He leaves the National Dramatic Center to rehearse La Distancia , a perfectly current dystopia about a future without theater that opens this afternoon in streaming . "Look out," he invites, "theater without an audience. That will be it."

She is an actress, Julia, by training and profession, but also an art historian, singer and songwriter, writer ... She has been mostly (neo) tonadillera the last 10 years but at 33 she decided that the cuplé had ended. He hung up his comb and embarked on a solo trip around the world that has become the sound newspaper La Historiadora , now available but to be presented on September 8 in the Galileo room. In between, he discovered for a year sex workers who are sex workers because they love and replied to the Retorica delle puttane that ended with Ferrante Pallavicino beheaded in 1644.

He lives well in discomfort, he embraces her. Feminist pro legalization of prostitution, religious and ultra sexual . "You have to know how to disappoint people," she summarizes, "I find it enriching to disagree. And besides, I'm used to it."

It is also bullfighting ... The great stigma. It is an art that inspires me, I have a lot of respect for it. The death of a bull in a ritual is so visible that I think that the animalistic fight should not focus there. Bullfighting for me is part of the idiosyncrasy but unfortunately it is very far from culture right now, and that has a difficult solution. There are statements by bullfighters that seem to see culture as the enemy. But if we are the same! The ritual seems important to me, the moment we lose the ritual and there is only the mobile, the hygienic ... One of its emblems is the shameless exposition of its body and its sexuality. It says, "Pleasure is a threat, especially to us." Puritanism There is a lot to talk about feminine pleasure. I think that is the subject. It is not puritanism, it is educational. Look at the bathrooms, the relationship of men with their own sex is very different from ours, how many vaginas of your friends have you seen? It is very important to understand and verbalize that many people around us are not experiencing orgasms and we are happy with it. You are not thinking of yourself when you enter into a sexual relationship, your pleasure is not relevant, the important thing is to come to the expectation of the other. How you behave in that room, just you and the other person, that's you. Sex is an expression like art is, and you need to express yourself. The great challenge for women is the body. Feminine pleasure is conquest. 'The Historian' talks about women, her friends, even lesbian desire, and yet with De la Purissima she dedicated an album to 10 male lovers. Has the point of view changed? Life has led me to surround myself with women. Before, she sought male acceptance because it was what she had learned, to seduce. Now I relativize it a lot. I do not exclude her, I love it, but finally I can have a little perspective and say: damn what a wonder of aunts. There is no threat anymore, I love it. We have to love each other a lot, support each other all the time, we have to learn from them. And we have to be patient, you have to open yourself up to tenderness, it is what will save us and open so many doors ...

Julia de Castro is no longer De la Purissima but she is still that girl raised in Ávila , in that barren, flat, hostile field that belongs to her. "I am the fruit of that city, for good and for bad." For the purpose announced a year before her cupletero project, she chose a double passage as opening and a litany recited by her grandmother as the closing. "She was born in Ávila and died with the Castilian ritual. She couldn't seem more honest to me."

Of what they say about her in her land, no idea. "We are very quiet." And from those times, a childhood dream: to be a race driver, like her father. "Because they are a woman, they gave me a violin and they told me: you're going to be calmer." They had no idea.

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