January 22, 2018

Nacho Gadano, actor

Tuesday, February 18, 2014

‘These 10 years have created greater political awareness’

Nacho Gadano.
Nacho Gadano.
Nacho Gadano.
By Luciana Ekdesman
Herald Staff

Born: June 11, 1965, General Roca, Río Negro province
Studies: Law School; theatre under Ricardo Bartís, Augusto Fernández, his stage directors and colleagues of today.
Radio faves: Víctor Hugo Morales, AM750, FM Malena, Diego Fischerman (on weekends)
Newspapers: Entertainment pages
TV faves: Plan M, Intratables, 678, Palabras más palabras menos, a lot of sports shows
TV series: Breaking Bad
Social networks: None, uses computer to check emails and see movies.

Sitting in the bar of the Floreal Gorini Cultural Centre for Cooperation (CCC), Nacho Gadano feels at home. A few days before the premiere of A lo mejor sería feliz, the actor talks to the Herald about theatre, philosophy and politics, confessing he loves writing letters and is not a fan of excessive texting.

A lo mejor sería feliz premieres this Saturday at the CCC. You not only star in this production, you’re also the playwright. How did this project emerge?

It was shaped as a consequence of my work. I started working on Fernando Pessoa’s The Tobacco Shop, a synthesized philosophic treaty of sorts which is also very poetic. I just thought about putting music to it and rebuild this story by adding songs which have haunted me throughout my entire life. Moreover, I’ve always imagined the presence of a woman who would act and sing. I worked with other poems by Pessoa which speak about existence and love, and added images and languages that reach you in a very direct and simple way.

When did you start working on this?

Everything began with a very sad episode where a friend of mine fell ill and died. The Tobacco Shop was an inspiration book for him. Somehow, I felt this was some kind of legacy. Three or four years ago, I started thinking about actually doing something with it and last year I began working with a larger group of actresses, musicians, a music director, producers and theatre people. Director Valeria Ambrosio was a godsend and a blessing for the play and she brought that final touch we needed.

You started your theatre career while still in Law School?

Yes, I used to go to workshops and study with independent groups. Law School was like a family legacy, one of those middle-class commandments. Let’s not forget this was during the last military dictatorship, when there wasn’t a lot of room for self-thinking and Law School just seemed like a decent way out from all that. I turned to theatre due to my interest in literature. I used to read novels and my hands would shake and the blood would rush in my veins while reading… My bonding with the story was that deep. That’s when I started to look into theatre schools and independent workshops.

So Law School just faded in the background…

Indeed but I’m still grateful I graduated. It didn’t have a practical significance because I don’t make a living as a lawyer but it was formative. In my time, university was more generic. I’ll never forget that, in the beginning, in one of the first sociology classes — which a lot of people used to sit in — the professor asked what happened to us when we rode on the highway and saw a field at sunset in Buenos Aires province. His question made me think about scents and spirituality and that feeling of freedom. Breaking away from the fantasy, I saw my colleagues raising their hands to reply, one after the other: “inheritance,” “legacy” and what not. At that exact moment I realized I wasn’t meant to be lawyer.

What was it like to perform Aída Bortnik’s Papá querido on public television for the 30-year anniversary special?

It was a bit stressful because I had to prepare a play in two days. There was pleasure in the work though, it was very emotional. With the four lead characters, we bonded so deeply and it all turned out so well. It was indeed a pleasure and an honour to be part of that tribute to Teatro Abierto. Theatre went through a very rough and intense time during the dictatorship.

You also worked in En terapia, a successful fiction series which was aired on public television as well…

These are just two examples of good television that make it worth your while. This is the kind of material that an actor enjoys when working in television, which can be ungracious at times. I mean, you can always land some character that is altogether less gracious, from their structural richness to the range of the project in general.

Do you think working in public television projects leaves a clear political mark?

No, I work everywhere. Of course, Canal 13 very likely didn’t approve of my appearance on 678. However, I think all actors work everywhere. The last time I worked with Polka (a production company owned by Canal 13 programming chief Adrián Suar) Andrea del Boca was the lead actress and everyone knows she’s a friend of the president or at least that’s what they say. I believe that conflict is in the past.


Well, let me say this: a few days ago, I woke up earlier than usual and turned on the radio to listen to Continental. Much to my pleasure, I realized that Nelson Castro — one of Grupo Clarín’s leading names — was conceding time to Víctor Hugo — a Kirchnerite sympathizer. That is a rare thing. I thought it was a good sign of peaceful coexistence and I would be happy to see more of those. Hopefully, things will level out from now until 2015. It’s obvious we all want a country where the majority of people live well. Maybe it’s just wishful thinking, but we have to make an effort. In that spirit, I truly believe that we should stand united so Argentina may become a fairer and calmer country.

I know you enjoy travelling throughout Argentina. Have you been able lately to see the different realities in the provinces?

You don’t have to travel to see the social reality. The other day, I was in Villa 21 for a cultural event at the head office of Culture Minister Jorge Coscia. I go to Patagonia a lot because that’s where my home is, I go to Río Negro, Chubut and travel to different places. I don’t see that people are living poorly. Of course, one always wants to have a better living, but I don’t see the sort of deep crisis that Argentina went through in the past. Making a comparison, I believe we’re better off now if we think about this history-wise. I think the last few years have been good for Argentina in general.

What else should we do now?

We should keep on track — I don’t know if we should stay on the same track, but we should definitely keep focusing on a growing Argentina. Without going into any specifics about political models, I want us to have a better country and, for that, we have to think in terms of majority. Let’s take the younger generation: it’s not just the people in political positions who have social and political awareness. You are well if the others are well too. I believe these 10 years have precipitated greater political awareness.


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