8.4 C
London
Thursday, October 6, 2022

Two years without the director Agustín Alezzo, master of actors

Actor, director and above all acting teacher, Agustín AlezzoHe was one of the great references of the national theater. This Saturday marks two years since his death, which occurred on July 9, 2020, at the age of 84. Alezzo had been hospitalized for a coronavirus picture.

Throughout his long career Alezzo directed more than 70 plays, including Witches of Salemwith Alfredo Alcón and Leonor Manso; I am my own womanwith Julio Chavez; wolf romancealso with Alcon; master classwith Norma Aleandro; the cherry orchard with Maria Rosa Gallo and Roberto Carnaghi, and Jettarore!by Gregory of Laferrere.

Trainer of great actors and actresses, Alezzo was always synonymous with prestige in the trade and among those who passed through his school are Julio Chávez, Jorge Marrale, Alicia Bruzzo, Muriel Santa Ana, Leonardo Sbaraglia, Paola Krum, Oscar Martínez, and many more.

Thoughtful, acute, passionate, Agustín Alezzo met the theater at the age of three, and was immersed in its world forever.  (Photo: Germán García Adrasti)

Thoughtful, acute, passionate, Agustín Alezzo met the theater at the age of three, and was immersed in its world forever. (Photo: Germán García Adrasti)

a great vocation

Born August 15, 1935, his first contact with the theater was at the age of three, hand in hand with his mother who took him to see a play. Since it was a text for adults, she thought that little Agustín was not going to understand anything. Nevertheless, for Alezzo that experience left a mark that would mark him forever.

“I was very impressed and I had images of that show. I was totally fascinated with it,” he said many years later.

Educated by French priests, Alezzo did not get to know his father, who died very young, two months before he was born.. That is why he was raised by his mother and by his godparents, who were the ones who instilled in him his love for the theater. Following family mandates, studied law for three years but finally he left the world of law to be an actor.

Later, in 1972, he left acting to dedicate himself to directing and teaching theater. “Directing is an extraordinary task because it means creating a world on stage. And teaching means following a person’s growth, which is also something extraordinary,” she said.

Alezzo He told how proud he was to see shine those who had passed through his school as teenagers. “I have known Leonardo Sbaraglia since he was 14 years old. I followed him throughout his life. I also saw Emilia Mazer grow up, and Julio Chávez, who was very young when he started with me,” he recalled.

In "Counterpoint", Alezzo directed the great Pepe Soriano and Leonardo Sbaraglia, whom he met when he was just 14 years old.  Photo: Martin Bonetto)

In “Counterpoint”, Alezzo directed the great Pepe Soriano and Leonardo Sbaraglia, whom he met when he was just 14 years old. Photo: Martin Bonetto)

The Stanislavsky Method

He, teacher par excellence, in turn, He was a student of Lee Strasberg and a disciple of Hedy Crilla, whom he always referred to as his great referenceIn the 1950s, he participated in the New Theater of Alejandra Boero and Pedro Asquin, he also joined the Juan Cristóbal Group, together with Carlos Gandolfo, and was part of the La Máscara theater in the 1960s.

The teacher and director was one of those who introduced the famous Stanislavski method in the Argentine theater. “Stanislavski didn’t invent anything. He watched the great actors of his time to see what happened to them,” he explained.

According to Alezzo, “the difference was, essentially, in living the situations. The method is not rational because its starting point is sensitivity. There were actors who always did it, beyond Stanislavski. The great actors have always been like that” .

Among many other great works, Alezzo directed "Jettatore" at the Teatro Nacional Cervantes.  (Photo: Lucia Merle)

Among many other great works, Alezzo directed “Jettatore” at the Teatro Nacional Cervantes. (Photo: Lucia Merle)

For this reason, it also clarified that his way of teaching was simply to accompany. I don’t have a technique. I accompany a learning, I observe the difficulties and I try to teach them to be organic on stage, not to be false. Don’t let yourself be won over by showing off in front of others,” she said.

And he clarified: “The actor only has an instrument that is his body and his partner, in some cases. That is where he should focus his attention“. According to Alezzo, the key to a good performance is that the actor or actress moves on the scene as they do in life.

A debut with Borges in the audience

Motivated by his teacher, Crilla, and by his friend and colleague Augusto Fernandes, made his directorial debut in 1968, with The lie, by Nathalie Sarraute. She once recalled, in an interview, that he was never able to recover the costumes for that play, of which he had also been a producer, from the dry cleaners, because the money from the tickets sold was not enough for him.

However, he had the best memory of that work because, among the spectators, he had had one of luxury: Jorge Luis Borges. And that was part of the satisfaction of offering a work.

Carlos Gorostiza and Agustin Alezzo, author and director of "The Return", with Emilia Mazer, Daniel Fanego and María Ibarreta on stage.  (Photo David Fernandez)

Carlos Gorostiza and Agustin Alezzo, author and director of “The Return”, with Emilia Mazer, Daniel Fanego and María Ibarreta on stage. (Photo David Fernandez)

For a few years, Alezzo lived in Peru, where he worked as an actor, and on his return he fell ill with tuberculosis. “During the months that I was in bed, I wrote a play to entertain myself, but I didn’t like it at all. I never wrote again,” he declared to explain why he gave up on becoming a playwright.

In the 1970s, he also directed several theatrical pieces in a television series; pieces by Henry James, Eugene O’Neill, Carlos Gorostiza, Noel Coward and Pedro Orgambide. A little later, during the last Military Dictatorship he became part of the disastrous “black lists” of prohibited intellectuals.

It was then that he took refuge in his studio to teach and created the Repertoire group, with which he performed dozens of shows. Nonetheless, Alezzo made the decision not to go into exile to accompany his mother who was ill.

“I was an only child, and being on a list scared me. But my obligation was to stay,” he said. “Fear is something inevitable and if one is ruled by that, he does nothing. Even with fear, things have to be done.”

El duende, Agustín Alezzo's theater school, which also functioned as an independent room, which in 2017 had to close its doors due to the unsustainable economic situation.  (Photo: Press)

El duende, Agustín Alezzo’s theater school, which also functioned as an independent room, which in 2017 had to close its doors due to the unsustainable economic situation. (Photo: Press)

With dozens of awards and recognitions, Alezzo also directed the National Conservatory of Dramatic Art and for years his El Duende school also functioned as an independent theater hall, which in 2017 had to close due to the economic crisis. Recovered, however, she was again at risk, as a result of the restrictions imposed by the pandemic and had to receive external help.

tireless reader

Always noted for his humility and simplicity, Alezzo declared himself a lover of jazz and literature. In his house, all the walls were covered with books and those who knew him say that he never rested: there were no weekends or vacations.

Passionate about his activity, he only ate to feed himself and smoked cigarettes. On the other hand, the aftermath of a stroke had left one foot immobilized.

Without rest, Agustín Alezzo gave his life to the passion he felt for the theater.  (Photo: Diego Waldmann)

Without rest, Agustín Alezzo gave his life to the passion he felt for the theater. (Photo: Diego Waldmann)

His love of the theater had also made him an avid spectator. “I saw everything. The great performers like Milagros de la Vega and Pedro López Lagar… I saw him ten times in panorama from the bridgeby Arthur Miller,” he recounted.

Precisely, Miller along with Tennessee Williams and other English-speaking playwrights such as the British Joe Orton and Edward Albee, were among his favorites.. “I would never put on a fascist work or one that does not agree with the subject it touches on,” he assured.

Travel and more premieres

In the ’70s, he was invited to the United States by the State Department, as a result of his work directing Witches of Salem. And in 1998, she also received an official invitation to go to Moscow to an event with those who worked with the Stanislavski method.

From that trip, he remembered with special enthusiasm his meeting with the British director Peter Brook, one of the most important on the contemporary scene who, due to those things of fate, died this week at the age of 97.

“The theater taught me to live, to know myself better,” said Alezzo. “Every play, every actor, and every character brings you face to face with worlds you might not otherwise have known.with questions that I would not have asked myself doing a normal life”.

With dozens of works performed both in the official theater and in the commercial and independent circuits, for Alezzo the theater was only one. “It’s good or bad, wherever it is. The only difference is that in professional theater you get paid. And in the other, you are the one who pays,” he said.

That’s why, his passion did not differentiate between a stall full of public or one with just a couple of spectators. “I have come to do works with less than ten people in the room. But I never felt like a failure. A failure would be to have done something that I don’t like. And I always did works that I liked because, ultimately, for me, the theater is always a journey of initiation“.

mfb

Don’t Trust On this News and Website Maybe it’s Fake

Reference from clarin www.clarin.com

Latest news
Related news