Original text is in Spanish. Read original text here: revistateatros.es. You can help improve the translation. Contact us on our facebook page.
I have met many 'tartufillos' in my life.
Q: Pedro Víllora says that the audience of this work is not going to enter a museum but is going to find himself. How current is this work after three more centuries?
A: I'm surprised you ask me, everyone knows what's going on. Yes, of course it is current. I also imagine that it would be one of the reasons why he chose this work and not another, because yes, indeed, it is very current unfortunately.
Q: Why, what is it facing us?
A: Not only hypocrisy, but also a person who displaces anything other than their own interests, immoral and unscrupulous to grab their prize. It is the only interest.
Q: Why do you think that "Tartufo" is one of the top works of universal dramatic literature?
A: Years have passed and they are again an example. Any audience who goes to see it discovered, identified and empathized with the characters and they are human stories, and the human profile is very well written. And for that it is necessary to write with a depth that almost all the classics still have, because it is an X-ray of the human soul. For example where they interact and one feels identified in one situation or another because they are very well written those human profiles, those heads, those human souls.
Q: We all know the universal history of Tartufo. What makes this version adapted by Pedro Víllora and produced by Venezia Theater different?
A: It is a version, but always respecting almost all the text and the essence. There is something that is much stronger, which is what Molière wrote, as an input translation. There is some variation, minimal, but yes as for characters, there is less than the original, but it is all told, every word, every action and every feeling and thought of the original is in this. It is not that he invented another and used the Tartufo to put his things. He's always respecting the essence of the original. It is not an invention or any madness.
Q: Tell us about your character, how is Elmira?
Elmira is the second woman of Orgón, she was a widower, we met after the death of his first wife. She has children, in this one she appears only with a daughter, who is the one that interests me and for whom she fights, that despite not being my daughter I love her like a friend. Looking a little Tartufo's intentions at a given moment and seeing clearly his modus operandi with the help of a maid who is smarter than he, we try to avoid a misfortune from taking place and from there things happen that in the end ends up winning Tartufo. Everyone knows how this story ends, it does not have a happy ending. Well, it depends on how you look, we are left without material goods but within my objectives, which are to keep this family, open their eyes. I get what I want, because I'm not with Orgón for money ...
Q: Who would be the 'Tartufos' of today? Have you come across any?
We see them every day in the press and then beyond those who dedicate themselves to politics, that these are as clear, this Tartufo, the one of Molière, they invented things that belongs to a religion and tells us that they are better than others, and with this trap they catch naive poor people who spend a moment of weakness or clinging to religions, sects, what we already know, blind them and many times to get money.
I have found many 'tartufillos' in my life (laughs), but I am not a fanatic person, for example in the cultural, musical aspect ... yes, I have my fanaticism, but then I have never been the typical devotee, I catch things with enthusiasm, I get hooked, but I belong to groups and that .. I have always gone very much to my roll. I have been lucky not to fall into the clutches of a network of 'tartufismo'.
Q: A devastating phrase of this text ...
There are many, and I loose many pearls. "Authentic people do not boast, they do not make unbearable display of their greatness, they are criticized at every moment the acts of others and in any case with their silent acts they discover an example to follow." And then I add: "That's my people".
Q: Apart from the Plaza de Colón, in the Fernán Gómez, where else are we going to be able to see them soon?
Nothing that can be counted (laughter) and nothing that can distract me, because this has its difficulty. I do not know if he would be able to match it with anything else now.
Tartufo, El impostor
Press conference of ‘Tartufo, el impostor’
Interview: "Tartufo, el impostor" by Molière with esRadio.com
Marian Aguilera interview with MEW Magazine
BTS: Marian Aguilera in "Tartufo, el impostor" (2016)