Imanol Arias, at the Infanta Isabel Theater in Madrid.


The famous actor takes up the leading role in 'The Colonel has no one to write' at a time in his life in which he has found "the need not to burden himself with the past."

Imanol Arias

(Riaño, León, 1956) transmits serenity.

He puts on the boots of the protagonist of

El colonel has no one to write to him

, the mythical work by

Gabriel García Marquez

adapted by

Natalio Grueso

and directed by

Carlos Saura


He will spend a week at the Infanta Isabel Theater in Madrid (from October 22 to November 1), although the interpreter does not look beyond the day to day.

"I create tomorrow from now", he affirms emphatically.

Why do you think Gabriel García Marquez was so fond of this character? First, because he had to live with his grandfather.

And it must have impressed him with something.

Gabo was a great conversationalist and grandfather should have some skill, because he is very fond of him.

And when it comes to choosing the start of his literature, although surely some critic contradicts me, he finds in this novel the germ of a style to speak of the country, of love, of America, of the word ... from a magical context.

As is the Latin American reality, where nothing is ever said, or nothing that seems.

And specifically in Colombia, in that war in which his grandfather was, it was a "that everything changes so that everything remains the same."

Those who lost the war ruled and those who won it did not.

He was a Christ, a reality so unreal that it can even be made magical ... Why?

Because Gabo put the words to him.

One after another, creating that world ... And although

One Hundred Years of Solitude

is a great work, getting a masterpiece with 90 pages ... Ugh.

It is not wasted. The novel talks a lot about the past time and, precisely, you are one of those who does not say that you were necessarily better at things such as the choice of roles. One day a great Italian actor, one of the great greats, who worked in Hollywood but lived in Italy, shoot a movie with me abroad.

I had a big budget, but it was weird.

It was shot as a documentary.

And there was a Spanish actor who had left things here.

It was his first international film and he repeated: "Jo, what a hell of a job, damn it, I shit in the sea! That this happened to me in Rabat!"

And this Italian actor comes, with his 80 years, and says to him [imitates the Italian]: "I have 94 films: 90 are shit, made to eat. Two good ones. And two for the story. Enough. What difference does it make If I'm just an actor. "

Well, in a way, yes.

There are things that have not gone quite right for you even though they have been successful.

In Spain, in my time, in the 80s, very few people had access to the cinema and there was a kind of obligation.

Like "Where are you going? You have to make two movies a year."

And they offered you three.

There was a phrase from Victoria Abril that was "the year we do five, it's over."

She made them and I did too.

And it was true.

From the year you make five films, there is something that begins to falter.

There are already at least two or three that are crap, or that don't turn out well, you don't know why.

I also think I'm not very sincere when I review the back.

Because the back is not part of my life.

I'm actually lying.

I have already done that analysis.

The back ... not even yesterday is part of my life.

I do not know why I have found a need now not to burden myself with the past.

Not living tomorrow, but very very instantly, creating tomorrow from now.

It's an older person thing, I think.

The actor, characterized as the character of Gabriel García Marquez.

"Yesterday is history, tomorrow is a mystery, today is a gift." I can determine my tomorrow based on what I do today.

Also, I don't review my movies either, because it's sad to see them grow old in the format.

The most curious thing about this is that in a very short time, without having a clue, we now see something square and buff.

The Eastmancolor at the end leaves a fly halo.

It would be necessary to make copies again of the originals, which are not saved ... The other day I said to the director of photography of



Tote Trenas

, "What a disgrace, all our filmography of the 80s and 90s looks bad!" .

Besides the devices in which they are seen, VHS and others, are crap.

And not so many movies were made from DVD.

The ones they got in the newspapers, which weren't very elaborate either.

As well as in the theater that you have the memory magnified.

If I remember

José Bodalo

I think he was very tall.

And I remember everything ... How did I see in 73

The Maids

in a Tent that came from New York?

Surely I've seen more shows now, but I don't have such a powerful memory.

I, who came from a small town just to see that, could not believe it.

Or when I did

The Untitled Comedy


Even if someone tells me that I'm exaggerating a little, I remember that it was the milk.

Do you still affirm that "living being an actor is not the same as acting"? I heard it for the first time from

Orson Welles

, probably in a similar way and not exactly the same as I remember it: "We artists of representation tend to have an almost dark life, tied up like a straitjacket. We fill a pressure cooker and dream that, at the moment of exhaling the phrase, the emotion in a movie, in a theater, is your whole life ".

Some of that is there.

You will notice sometimes, when you interview classmates, that you ask them how they are and they tell you that they feel they are coming out of a cave.

Well that's it.

To be like living all the vices, all the things ... That they concentrate in a very small place to find your truth and to be able to say "there are days when I feel that this town is coming over me like an avalanche of mud."

This artificiality in life, which is social and an important foundation, marks us a lot.

There is no God who can endure us long.

Unless he's crazy.

And in our relationships it is the same.

Fran and I can be on a quiet trip and when we get to the city, open up a little and at six in the afternoon no one stops us.

There is some of that which is what I call "living as an actor" and not living on acting.

Sometimes a bank calls you to hold a convention in front of 5,000 executives and you don't know how they make a living.

But you have to act, huh.

Because the level of them do not see you.

Speeches of an hour and a quarter, paperless, perfect.

"In the theater the memory is magnified," says the actor.


Are you one of those in love with the 'feedback' that theater provides? In life, in communication, there are two different realities.

We are experiencing processes that are made so fast by technological development, by the ability to travel, that we are all day solving the urgent.

We are faced with many urgent little things that have to do with practicality, with how the world breathes.

And yet we forget what is important.

In the end, the practical and the urgent has to do with yesterday.

The urgent thing is that yesterday they realized that today it was.

And that is still limited.


What happens to the theater?

That builds a hundred years, a life, three days, four weeks ... In an hour and a half.

You don't have time for urgency.

You only talk about what is important.

The process that is created between the mechanical and what we know is important is so curious.

It gives you that gift.

It does not solve, it does not give you a solution.

You don't go out and say: "I know how to take a


on Gran Vía, trunk!"

You go out with something else.

And that, as much as we insist on cultural value, has a very important social value.

And a support that is something we pride ourselves on but then manipulate and vilify: the language.

Which is the ability that word after word we create a world that is unlike anything.

It is of impact. And it remains in the memory. The theater will have to think of two ways of living.

The presence and the possibility of establishing a


that will not become real until virtual reality arrives.

As I see in HBO and Netflix documentaries, it will be with her.

I heard it from


, who in Spain is a bit ahead.

García Lorca

, in

Untitled Comedy

, said: "Why do you come to the theater to see what happens and not what happens to you? The viewer is very calm, he knows that comedy is not going to notice him. But how beautiful it would be that the pale light of the scene illuminated his ambushed face. "

Well this is exactly the same.

How beautiful it would be if the theater had its own business!

But when there is the possibility of buying your ticket at the Infanta Isabel, in row 9 and you see the show from that place at home with virtual reality.

And see that there are spectators "by your side".

Then the theater will be eternal.


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