translated from Spanish: Francisca Imboden: “In acting the figurine alone does not work”

According to actress Francisca Imboden, for a play or TV series to be successful, the essential thing is the good atmosphere of the cast. “That idea has been reformed a lot now, watching old TV series,” he says. There were figures there, obviously, but you never thought about ladders, it was a joint work. That can also be seen in the TV series now when they do well. For example in ‘Papá a la Deriva’ where we were a group that always thought as a team. The thing does not work if it is not in a group, they do not serve the figurine alone or the thought of ‘this character is a boy’, because what one is doing is important for everyone, “he explains. And that is exactly the opposite that shows “Bambalinas de Sangre”, a hybrid between film and theater that will be released today online through the Nescafé Theater of the Arts. The story is set in the ’60s, when a young director (María Gracia Omegna) brings together an outstanding actress (Carmen Disa Gutiérrez) with a star of the photonovel (Imboden) to create a montage that promises to be the success of the tables. However, there is a problem. Actresses hate each other to death, causing mysterious events in which several women are in danger.” There are power and ego struggles here. The director wants to perpetuate herself in the collective imagination as one of the best directors and in reality she and the four actresses involved have their problem with the ego. Mine is that she has always felt less and has been treated that way because everyone sees her as the diva of the photonovels. Then he feels a deep jealousy against Margot Miranda, who is Carmen Disa, a theatrical diva validated by all. Everything is born of the insecurity and cynicism that in the end the two are good actresses. In the end it seems that any of the five has reason to kill any other of the five, or at least you win,” he says with a laugh. It’s a very toxic work environment… (Laughter.) Yes, total. Now, it has luminous parts but in the background what we are talking about that, the insecurity of the creator, the search for your environment to validate you. In that sense it helps that it is something audiovisual. Finally I feel that the horror story is rather something of the audiovisual genre because it is affirmed a lot in the aesthetics, in the turn of cameras, in the music that you put on it, in the foreground, in the eye. The truth is that I have not played any 100% horror play on stage, I think that having an actor at the front on a stage that you know is inhabited from behind the scenes, makes it difficult to ask the audience to surrender to fear. Now “Romané” is being broadcast, have you seen it? Does it bring you nostalgia? I haven’t seen it because I don’t have time. But they usually send me scenes and obviously I see them and it’s super exciting. Maybe a while ago I saw scenes from “The Circus of the Montini” and I looked at Jessica, a character who was very quiet, is very contrary to all my characters. I really enjoyed doing that job. Although I have not forgotten any.

Original source in Spanish