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The theater director María Esther Fernández, with a great career in the independent scene, died

There are directors who leave an important mark on the theatrical scene, but they are silent, preferring to “do” rather than have their name or photo appear in the media or on a marquee. Maria Esther Fernandez, tireless creator in the independent theater of Buenos Aires was like that. She always had a caress, a smile, a word of encouragement, and an arsenal of wisdom ready to stage. But she was silent. And so she physically left today, at the age of 90. She carried out extensive and outstanding work in the field of theater for six decades.

He graduated from the National School of Dramatic Art. As an actress, she worked in the companies of Alfredo Alcón and María Rosa Gallo, joined the cast of the Teatro San Martín. It was directed by Margarita Xirgu in barren; by Carlos Gorostiza, in Rashomon; by Osvaldo Bonet, in orpheus descends; and by Ernesto Bianco, in Amoretta.

From 1963 to 1969 he worked on Channel 7 in the cycles two in the city, Maria, me and you y universal theater.

As a teacher, his work was very extensive. He began teaching drama courses in 1963; He worked at the National School of Dramatic Art, the National School of Buenos Aires, the School of Theater Techniques (Inteart) of Saulo Benavente. She was one of the founding professors of the Conservatory of Dramatic Art of San Miguel de Tucumán. and the founder of TAL (Taller Actoral Libre), where she developed her teaching task for more than four decades. She was also the director of the Municipal Theater of Necochea, between 1975 and 1978.

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He began directing theater in 1975. Among the shows he presented were notable stagings Our weekend, Mischievous spirit, The night of the murderers, The depression, The colonel, Me, Alfonsina, Open class, The chalequera, Poet in New York, Our America, Songs to watch, An enemy of the people, The world of María Elena, Passion courage, My name is Roberto Arlt, World Heritage, Stone bread, The call, Women of flour, Vernissage, Miguel Hernández, my husband, Watching the trains go byamong many other titles.

In 2013, the Argentine Association of Actors awarded her the medal for her 50 years of membership, within the framework of the Podestá Awards ceremony in the Blue Room of the National Congress.

For a long time, the theatrical work of María Esther Fernández was based in her beloved room: El Búho, created by her and Nathán Cusnir.

“In critical moments when culture seems to be in the background, we meet with the desire to make our contribution so that it remains in the place that every society deserves,” said the director as a slogan. On August 18, 2003, El Búho was inaugurated on a memorable day because a new space was opening and, also, because Maria Rosa Gallo and Alejandra Boero They accompanied their friend Fernández at the time of making a great dream come true. Located at Tacuarí 215, in the heart of Monserrat, in the middle of office buildings and banks, the theater closed its doors in January 2015 and dismayed the entire theater scene. In a brief statement released by its directors, it was clarified: “Although the decision exceeds us -because the owners of the premises decided to sell the property in which the theater operated-, we are happy to be able to close a great cycle that far exceeded our expectations. initials. In this sense, we are satisfied to have been able to promote, train, develop and investigate the different cultural expressions”.

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The Owl always maintained a very careful schedule that combined theater, music, cinema, photography, and a combination of artists with a strong career and young creators passed through its stage. It was also a space that functioned as an acting school, where many performers were trained by the great actress María Esther Fernández, a woman with deep wisdom. There she premiered, among many other productions: Chabuca, Eladia and Violeta, Monserrat, myth and mystery, Passion and courage, Tango and its people, City and tango, Tuñón and its world, South wind, Pan de piedra y Bicentennial women.

One of his last productions was the silent house, in 2018, at the 25 de Mayo Cultural Center, a forceful one-person show with Mónica Villa on Isabel de Guevara. It was a text by Alicia Muñoz, a playwright for whom she directed many plays.

Her departure was noted throughout the day on social networks by her hundreds of students (many of them already established artists), friends, spectators and artists who were directed by her or represented her works at El Búho.

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