CARLOTA FERRER.

Madrid, 1976. She is a stage director, actress, choreographer and cultural manager.

She now leads the theatrical production of the season, 'The Kiss of the Spider Woman', starring Eusebio Poncela and Igor Yebra.

Tell me about the relationship that is reflected in 'The Kiss of the Spider Woman'. It is an accidental love story between two human beings who meet in the antipodes. The work asks the question: "What is it to be a man?" Eusebio Poncela's character defends something that bothers us women today: he advocates submission and the freedom to want to live taking care of others. Like women who stay at home taking care of their children. Today someone who says at a women's meeting: "I am a housewife."

It is a choice like going to university. It is true that feminism criticizes this position a lot. Obviously it has to be a choice, not an obligation. What is it like to direct Eusebio Poncela, that indomitable actor? He is in love with me.

We argue a lot and poor Ygor Yebra has infinite patience because the discussions are very fierce. Why do they argue? He really wants to know why he does things.

He has his point of view and wants to understand mine. Of the more than 200 characters I have interviewed, Eusebio Poncela has seemed to me the most seductive of all. He has a motto: "You have to seduce all day long: the taxi driver, to the shopkeeper...». Why was she dismissed as director of the Autumn Festival by the Madrid Minister of Culture, Marta Rivera? I don't know.

I have never manifested myself politically.

I am on the left, but I am also very critical of the left.

I think that the newcomer to the position wants to decide who he puts in. Is the stage the only place where women are not in the background?

There are many more actors than actresses on stage.

Yes, there is progress and now there are many more women in the technical world as machinists and lighting designers. The League of Professional Women of the Theater denounced that it was a sector full of sexual predators. I have not experienced it.

I have only seen closely one case of insistence and harassment from a director to an assistant, but it was not abuse. Many actresses have told me that they had internalized and normalized certain situations of harassment. I do remember as a young girl in a casting that they were looking at you boobs instead of face.

But it has been a long time since. The actor Rafael Álvarez 'El Brujo' maintains that we all carry an Aznar and a Willy Toledo inside. I hope I don't carry one or the other.

What you have to carry inside is not to marry anyone and not have that fanatical fervor for one and the other.

Right now there is no politician on the Spanish scene who is exceptional.

Why do we follow what they say like sheep? He affirms that he likes the bulls, but that he would love to hate them. The playwright Castelucci said that the most perfect show is bullfighting art because in it he really plans death.

The bulls have something mystical to treat them only as some animal violence.

I am an animalist, I live in the countryside and I have dogs.

And it is a bull that dies.

I cannot deny the greatest. Now it seems that if you go to the bulls you are from Vox, when it has always been a popular party. And intellectuals.

Hemingway, Lorca... It's a mystical plane and it's not cheap enough to turn it into a political ideology of the extreme right.

It is a Spanish party, where we all fit and I do not think it is right that some take over it and others against it.

Have you suffered from tyrannical directors?

Yes. I see young colleagues who have sucked from tyrannical directors and behave like this.

There are times when they hurt because the actors are fragile.

If you don't like a montage, you have to leave.

When I work with someone new, I tell them: "If we don't understand each other, take the door."

Conforms to The Trust Project criteria

Know more

  • actresses

  • Final Interview

  • theater