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- 0:11PRESENT
- 0:14A DOCUMENTARY BY JOSÉ RIVEIRO
- 0:17WITH CARMELA ROMERO
- 0:23SPECIAL COLLABORATION OF JOSÉ SANCHIS SINISTERRA
- 0:26MUSIC BY CARLOS JOSÉ MARTÍNEZ
- 0:29BEHIND THE SCENES (WHAT NO ONE SEES)
- 0:40Happy 2020! -Happy New Year!
- 0:44A toast to all of you! To Asturias! -Happy 2020!
- 0:50Both 2020 and the idea that led to this documentary
- 0:55came basically at the same time.
- 1:01While a great part of the world celebrated a new year
- 1:04which did not seem particularly special at first,
- 1:09I got a call from Carmela Romero, who asked me to direct a documentary
- 1:13aiming to offer viewers the possibili
- 1:16to discover the ins and outs of a play from the inside.
- 1:21Hey, come on. Let's wake Carmela and Carolina up.
- 1:26They sleep like logs.
- 1:28Hey, girls! Let's go! Time to wake up
- 1:33The play I mentioned was ¡Ay, Carmela
- 1:36a text by José Sanchis Sinisterra
- 1:38with a film adaptation by Carlos Saur
- 1:40starred by Carmen Maura and Andrés Pa We will talk about the film later.
- 1:46I immediately fell in love with the i
- 1:49so we started with the documentary right away
- 1:52in a very different way from how we ended it.
- 1:55However, as a huge fan of the film,
- 1:57one of the first things I wanted to do was ask Carmela
- 2:01how she got the idea of choosing this play.
- 2:06The idea of performing ¡Ay, Carmela!
- 2:08came to me one day cooking at home with Carlos.
- 2:12We had the radio on in the background
- 2:15Suddenly, a man started to talk.
- 2:17At that time, we did not know who he was.
- 2:19Today we do, for sure. He's a right-wing extremist.
- 2:24When we heard him,
- 2:27I got goosebumps.
- 2:29Then, my brain could only think of ¡Ay, Carmela!
- 2:35I have just informed the head of stat
- 2:38that an extraordinary council of ministers meeting
- 2:41will be held tomorrow
- 2:43in order to declare a state of alarm throughout Spain
- 2:47for the next two weeks.
- 2:52At that time, we had been hearing
- 2:54about a virus that was causing trouble in China.
- 2:58However, we never imagined what ended up happening.
- 3:12Hey, Carmela. Look at this.
- 3:17Hey, that's so cool!
- 3:26Rehearsals that were supposed to begin right away
- 3:30had to be postponed for several month
- 3:32due to a lockdown that was initially scheduled for 15 days.
- 3:35Finally, in mid-July, we were able to
- 3:39for the first reading of the script.
- 3:41"Oh my God! Success is going to be the end of me!
- 3:45My office is full every day,
- 3:46and 99 % of my patients are women!
- 3:50I mean... 'Doctor, please, touch me!'
- 3:56How insolent!
- 3:59Someone's knocking.
- 4:01Who is it?"
- 4:04You shy away from confrontation.
- 4:07You don't take a stance. -But my character does.
- 4:09No.
- 4:11Our first meeting was so exciting.
- 4:14We came from a very long lockdown,
- 4:18we were quite overwhelmed,
- 4:21and starting our first production tog
- 4:26and getting to work
- 4:28I think it even made some of us cry.
- 4:32As a producer, the moment I asked Sandro to direct the play
- 4:38Well, we had met before,
- 4:40so I knew our ideas would be in tune with each other.
- 4:44That's why I asked him.
- 4:46I'm Sandro Cordero,
- 4:47I'm the director
- 4:51of the play ¡Ay, Carmela!
- 4:57I guess I need to retire.
- 5:00This is the first time
- 5:02I work as a real director.
- 5:04I'm facing a script I did not write
- 5:07and I have nothing to do with its creation.
- 5:11They gave it to me and said, "Go on, do it."
- 5:14Obviously it's not just me, there's a whole team working in the p
- 5:19In my opinion, for example,
- 5:21directing is one of the most difficult things to do.
- 5:25You have to take too many things into account.
- 5:27I would go crazy. I would never be a director.
- 5:31There's a lot of work involved in a p so we need to distribute it.
- 5:35Basically, my job involves
- 5:39reaching consensus with people, keeping them on track,
- 5:43and establishing guidelines for the t
- 5:47It doesn't matter. It's just the beginning.
- 5:50Then, we can agree on a place for you to stop
- 5:53and say, "I'm getting goosebumps." That's it, you know?
- 5:57Yeah, but there's music and I have to -Yeah, sure.
- 6:01The thing is how much you are going to sing.
- 6:05We have to establish that. -That's it.
- 6:09Yes, but when I stop -Yeah, that's it.
- 6:14You can even say, "Stop, please, stop -Yeah, like, "Stop, Gustavete."
- 6:21Gustavete, their assistant.
- 6:23Yes, he's the one carrying the gramop
- 6:27Go on, sing.
- 6:43If it goes out of tempo, you go like
- 6:47That's it! You can do it!
- 6:51Yes! Well done!
- 7:03"Stop, Gustavete, please." -Yes, "Stop, please."
- 7:08"I'm getting goosebumps!" -Yes! That's perfect!
- 7:11"I get goosebumps every time I sing this song."
- 7:16I took the script, I started reading, and I said,
- 7:19"I have the perfect Paulino."
- 7:21I'm doing the dishes from yesterday. Yes, that's how we roll here, you kno
- 7:28Don't film this, José. This kitchen is a mess.
- 7:32Please
- 7:34Let's do this.
- 7:37I knew Carlos and Carmela, so I was prepared for everything.
- 7:43That was not an issue for me. I knew the people I was working with,
- 7:47they're unique,
- 7:50so that makes everything better.
- 7:52Carmela called me.
- 7:55She was about to produce a play, looking for people to work with her
- 8:01and managing the budget.
- 8:03She said she would like me to work with her in production.
- 8:07Obviously, I said yes!
- 8:09These opportunities come once in a lifetime, you have to take
- 8:14You can't say no to Carmela.
- 8:17She has things to say. She has something in her heart and in her min
- 8:21She needs to let it out.
- 8:22Everything started so easily.
- 8:25It was like
- 8:28I needed to do it. It was time to do
- 8:30We worked regardless of the pandemic.
- 8:33We always live in absolute uncertainty, you know?
- 8:37In the middle of a pandemic, uncertainty increases a thousandfold.
- 8:43I worked hard, but sometimes I was li
- 8:46"Well, this may come to nothing.
- 8:50Maybe we don't have the time to do what we want."
- 8:53Well, I would say
- 8:55Thinking too much creates uncertainty
- 8:59but when you get down to work you need to forget it
- 9:01and remain professional as if life was normal.
- 9:07That's the only way of getting things done.
- 9:10If you put barriers up to yourself, you'll never get there.
- 9:15"I thought of you and here I am."
- 9:17"They let you come?" -"Yes."
- 9:19"Just like this?" -"It wasn't easy."
- 9:22Due to several issues, we had to canc
- 9:28some rehearsals we had scheduled.
- 9:31Everything was running with an unplanned delay.
- 9:34Some people tested positive for COVID
- 9:37and we had to stop without knowing how to keep going.
- 9:40That's fucked up. It's very difficult
- 9:44You told me you were quarantined.
- 9:46Yes, our daughter got sick.
- 9:49First, we wanted to wait and not to p
- 9:55but then the doctor told us she had a virus,
- 9:58but we don't know what kind.
- 10:02Let's hope it's not that specific vir
- 10:06Well, we're quite sure it's not,
- 10:10but we can't go out until we're a hundred percent sure.
- 10:14We're quarantined.
- 10:15When circumstances are this fucked up
- 10:20they will inevitably affect your work
- 10:24As my colleague Cristina said,
- 10:27this job made us get used to working
- 10:31at a frenetic pace.
- 10:34Like it or not, there's a weird atmosphere.
- 10:36The news, our routines
- 10:39Even though you are not infected, you know people who tested positive.
- 10:43You know? It all adds up
- 10:48and weighs on you.
- 10:50There will always be hardships. That's the way life is.
- 10:53We must learn to coexist with adversi
- 10:58Just keep going.
- 11:00We cannot drown. After all, we are making art.
- 11:03Art transforms you from the inside.
- 11:06It touches you, it cleanses you, heals your soul.
- 11:10It doesn't matter if there is a virus that's not important.
- 11:16I don't want to be pessimistic. It's hard just because of the situati
- 11:21However, more often than not,
- 11:24I feel better after rehearsals.
- 11:26I often start rehearsals in a gloomy
- 11:28and end them up feeling much better.
- 11:32Consequently, I would say
- 11:36art keeps healing and the show keeps us going on.
- 11:42In the middle of this situation and while lots of people tested posit
- 11:47we decided we needed to keep going.
- 11:50Time was obviously running out
- 11:52and there were no short-term solutions to the pandem
- 12:00Once we drop Carolina, we need to pick up the van.
- 12:03I have the props ready to load fast.
- 12:07Okay.
- 12:10I'm changing into something comfier.
- 12:15Let it out!
- 12:19Out!
- 12:24Out!
- 12:29Out!
- 12:32Out!
- 12:53We're out! -We're out!
- 12:59Torquemada! -Torquemada!
- 13:03Auditorium. -Auditorium.
- 13:08Alright.
- 13:09You guys are seeing it. What happened?
- 13:12It's almost the same thing.
- 13:16When there is listening, there is truth and we forget everythi
- 13:22we get amazing things. It's like, "How is that possible?"
- 13:26Because you're listening to each othe What I want to say
- 13:30Sorry for speaking this way, but don't get comfortable.
- 13:34We need to work hard. This exercise is not meant to look go
- 13:39we just need to work hard!
- 13:41I mean, it's impossible that
- 13:45You don't need to repeat it. What can't happen is one of you going
- 13:51and the other one like
- 13:53It's like Are you living in different worlds?
- 13:57Understood? Okay, let's go!
- 14:00You look like Brian's mom. -Like Brian's mom?
- 14:04But my children are great.
- 14:06We're lucky to be married. We're the two characters in this play
- 14:11so we can rehearse our lines at home while one of us does the dishes
- 14:15and the other one takes care of our daughter.
- 14:18I focused on studying my lines.
- 14:20I had to change diapers every now and then,
- 14:22but the production of the show was her job.
- 14:27It was a huge challenge.
- 14:30I always thought we had to show peopl
- 14:33the bottom of the iceberg, the part that no one sees.
- 14:37Since it was the first production of my own,
- 14:41I was like, "This is the moment."
- 14:44In addition, making the documentary at the same ti
- 14:48is so interesting, and I think it is necessary to show that side too
- 14:54When you tell friends and other people you have a rehearsal
- 14:59they just think you show up and read your lines, they know nothin
- 15:06People only see the end result.
- 15:08I think showing the whole process
- 15:11is a very important thing to do.
- 15:14I mean, the first part is
- 15:19I don't know.
- 15:21The grounding process. The first contact with the play.
- 15:25We have to cleanse our minds and be aware of where we are.
- 15:30Since I personally manage all the production,
- 15:34this is the hardest part for me.
- 15:36Not thinking of all the e-mails I have to reply to,
- 15:40forgetting everything and being focused on what I'm doing.
- 15:43All the exercises you're seeing look like children games.
- 15:49It looks like what we used to do in Music or PE at school.
- 15:54This exercises are intended to work with focus.
- 15:57With listening.
- 16:01Good morning! -Good morning!
- 16:07No! -No!
- 16:09Let's try again.
- 16:10It's very important to listen, not only to the person you're talking
- 16:15but also to listen to yourself, to the space where you're moving in
- 16:19and to everything that's happening. That's crucial when performing.
- 16:24We play some songs
- 16:26in order to get us into the plot.
- 16:33Then, Carlos and I work separately.
- 16:37After that, we do it together
- 16:40in order to start up and enter the st
- 16:44Honestly, every play is rehearsed in a different way.
- 16:50Rehearsals are not always the same.
- 16:52Every director has its own way to rehearse a play, but even so,
- 16:56rehearsals differ.
- 16:58The circumstances always prevail.
- 17:02In this specific situation, we all thought the best way to rehear
- 17:08was a concrete method we call "to do a chorizo."
- 17:13This consists of assembling the performance as soon as possible
- 17:19in terms of physical movements and occupying the space.
- 17:23We carry this process out quite broad
- 17:26When we got this "chorizo", meaning we have done all this job,
- 17:31we try to make sure that everyone is at ease.
- 17:35We're doing a chorizo right now.
- 17:37I beg your pardon! -Let's do it again. Very good, Carlos
- 17:41That is a killer line!
- 17:43It is just so uncalled for
- 17:46Besides, this play takes place over several periods of time
- 17:51and the starting point is not always the same.
- 17:54That's why depending on the work we carry out on a specific day
- 18:02we go one way or another.
- 18:05Sorry to interrupt you, guys.
- 18:08We have to turn off the spotlight over there.
- 18:12Spain is under quarantine due to coronavirus.
- 18:15The state of alarm by which the government
- 18:17has taken control has come into force
- 18:20This decree restricts the mobility of 46 million Spaniards.
- 18:24Until the end of the state of alarm, the government has banned
- 18:28wakes, religious services and civil ceremonies in all the country.
- 18:3217 people have passed away in this nursing home in Madrid.
- 18:36Good evening. Spain has surpassed the thousand deaths milestone.
- 19:01All right.
- 19:03No, that's only here.
- 19:11Time passed by and, unfortunately, the death toll kept on rising.
- 19:17Not only was the premiere of the play and the documentary in jeopardy,
- 19:21but all the terrible news we were constantly barraged with
- 19:26also created a negativity aura that was hard to overcome at that tim
- 19:33In spite of everything, both the documentary and the play tea
- 19:37decided to continue with the rehearsa as normal and optimistically as possi
- 19:41despite the masks, the social distanc
- 19:44and all the restrictions that didn't allow both teams
- 19:47to work together simultaneously.
- 19:52Staging is what I like the most.
- 19:55I love getting here in the morning and helping to set up the spotlights,
- 20:01creating the play space within the theater
- 20:04That's what I love the most about my
- 20:08I really enjoy theater days.
- 20:13There's also one more crucial aspect that people usually disregard.
- 20:17Unless you are part of a major acting company,
- 20:21you have to come to the theater, unload the van, set up the staging
- 20:26People think we arrive one hour before the show. Well, that's not tru
- 20:30We need everyone's commitment.
- 20:33We are a real team.
- 20:34The reality is that, either you are an actor or a technician,
- 20:37you get involved in everything and we all get the job done.
- 20:41I am halfway between the character and the production staff member.
- 20:46Do you see all these people working behind the scenes?
- 20:50Without them, all of this would not be possible.
- 20:53You see? They work as if they were little ants
- 20:56Nobody sees them, but it's thanks to them that we're here doing this.
- 21:01Thank you, show technicians!
- 21:05A round of applause for you.
- 21:14"No sets, no costumes, no props, no nothing.
- 21:18Well, yeah, lighting, sure."
- 21:29She is always open to everyone.
- 21:32As they say in the north, in the words of a Santander native,
- 21:35"I'm such a 'ventanera'." I love that term.
- 21:39I've never heard of it. I like it.
- 21:41So do I. A girl who is "ventanera."
- 21:44What's wrong with technology? What the hell is it doing to us?
- 21:48A boycott! -A boycott.
- 21:51No wonder
- 21:56One good thing that came out of the pandemic was video calls.
- 22:01We were not so used to working with them before.
- 22:05However, we started using them to avoid any unnecessary contacts.
- 22:10In addition, thanks to them, we were to interview the author, Sinisterra.
- 22:16We got to know more in-depth details of the play ¡Ay, Carmela!
- 22:45I wanted a play about the pre-war per
- 22:48another one about the civil war and one about Francoism.
- 22:51I already had the Francoism play and the idea about the pre-war one.
- 22:55However, during that magic flight between Lisbon and Barcelona,
- 22:59I had a chat with my assistant, Jordi Dauder,
- 23:02who has already passed away and was a troskyist actor
- 23:06who I considered my brother back then
- 23:09I told him that I wanted to write another comedy about the war
- 23:13with two comedians, such as Ríos and Solano, the characters in Ma
- 23:17two unfortunate men who are entangled in that catastrophe
- 23:22trying to survive thanks to their art
- 23:25I was giving a monologue, but my friend Jordi was listening.
- 23:31I thought the title could be one of those songs
- 23:36such as En el frente de Gandesa
- 23:38or just a verse, Si me quieres escrib
- 23:41Ya sabes mi paradero
- 23:43I started remembering those poems and songs from the civil war
- 23:49when, suddenly, I thought of ¡Ay, Car
- 23:58He stared at me and said, "Such a nice title."
- 24:13It's so interesting that such a seemingly arbitrary occurrence
- 24:18about that republican song and the verse "¡Ay, Carmela!"
- 24:23was the starting point.
- 24:26At the beginning, I mentioned the fac that I love the film ¡Ay, Carmela!
- 24:30Those who know me well are aware of how much I admire Andrés Pajares.
- 24:35Besides, this film made him become po
- 24:37in a dramatic register that no one had been able to develop until then.
- 24:42In fact, until the release of The Sea Inside,
- 24:44it was the most awarded Spanish film.
- 24:47Thirteen Goyas and a great number of international awards are proof of
- 24:52I think I watched the film first. It's always the same with films and p
- 24:57"Which one did you watch first?"
- 24:59When we reached that point, I thought, "Should I spoil it for the
- 25:04That's when I asked Carmela, the producer, "What should I do?"
- 25:07I think everyone or the vast majority in our country
- 25:12has watched the performance from Pajares and Carmen Maura.
- 25:16Saura and Azcona
- 25:18I won't speak in the absence of my la
- 25:21I owe so much to that film.
- 25:25Sure. -It's a great film,
- 25:27but it represents one of the most blatant betrayals
- 25:30against me.
- 25:31The film is about the dead who do not want to be erased
- 25:34You couldn't have killed them properly, you bastards!
- 25:39The script does not have much to do with the fil
- 25:42We're talking about the most awarded Spanish film of all
- 25:46thanks to the fact that it stems from a brilliant story.
- 25:50The same events are occurring,
- 25:52but the story is told differently.
- 25:54When we talk about that subject, about what occurr
- 25:59we don't know what happens, but the dead become nothing, less than du
- 26:04That's the matter I wanted to approac
- 26:08We were in the transition years to democracy
- 26:11and there was a huge interest in moving on.
- 26:13Not only the right wing was intereste but also the socialist government.
- 26:17Sure. -The socialist party wanted to move o
- 26:21to avoid raising hackles. -Yeah, sure.
- 26:26This is being reflected today.
- 26:28Some facts that are supposed to belon to the past are being told.
- 26:34We should have left behind or solved those facts, but that's not the reali
- 26:38That is the strength of the play.
- 26:42I'm talking about its timeliness.
- 26:46How past, present and future are displayed.
- 26:50It's such a lovely thing to do and to watch.
- 26:55If these two characters were dressed in a 2020s style
- 27:00instead of in a 1930s one
- 27:02and if the dialogues changed a bit so they made references to today's wo
- 27:08no further changes would be needed.
- 27:10Reflecting the male chauvinism
- 27:12of sentimental and professional relationships
- 27:15from back then, which is also a current issue,
- 27:18would be nice.
- 27:19It's a script, a text, which is becoming more and more relevant.
- 27:24Francoism is alive and kicking.
- 27:27This is visible through VOX and a huge part of PP.
- 27:31Politics and ideas are increasingly polarizing.
- 27:35We return to that never-ending story in which there's only one Spain.
- 27:40It's always one plus one. That's a pity and that's the way it g
- 27:44Here we are.
- 27:46Don't fool yourselves. This is import
- 27:49As Carmela says, she's a sentimentali
- 27:55Please, don't make the characters be representatives of anything.
- 27:59It is hard enough for them to exist on top of having to bear that burden.
- 28:04Representative of the working class w repressed by capitalism
- 28:07and so on. No, no.
- 28:13The action takes place on the empty s of an abandoned theater
- 28:18that no one uses anymore, dilapidated
- 28:22As the show had to be low-cost,
- 28:25I told myself to find a real and historical circumstance
- 28:29during the civil war that allowed me
- 28:34to represent these two poor comedians
- 28:36who have not realized that the fascist faction has made progress
- 28:41Thus, they could act without scenery, without costumes...
- 28:45Understood. -That was a purely economic issue.
- 28:48Sure.
- 28:50That's so nice.
- 28:51The dramatic circumstance of the play
- 28:54derives from the fact that it had to be a cheap show.
- 28:57Yeah.
- 28:58That's why it's almost empty.
- 29:01There's a gramophone, there's a flag and...
- 29:05A broom and little else.
- 29:07There's also a chair because we came up with that idea.
- 29:11Not even the author placed a chair.
- 29:14Therefore, there are two actors in an empty stage
- 29:19having an argument during quite a whi since this is a long play.
- 29:24We didn't know how it was going to be
- 29:26We could've started working and
- 29:29Who knows? It's not always that smoot or that poorly with everyone.
- 29:35You could have a great relationship, but not during work.
- 29:39To be honest, we're so pleased.
- 29:42Everything just flows.
- 29:44Truth be told, this story of Carmela and Paulino
- 29:49is about a marriage who owns an acting company,
- 29:55so that link and that complicity that exists at home
- 30:01helps us to shout at each other on st
- 30:05Why did you do it, Carmela?
- 30:07Was it really necessary?
- 30:09What did you care about the flag, about the song, about the whole show,
- 30:13about one party or the other, about this damned war?
- 30:16That's what they basically do, shout at each other.
- 30:19In this play there is a special featu a play within the play itself.
- 30:25You will be amazed by their astonishing magical powers.
- 30:29It is a meta-theater play.
- 30:32I think that is the challenge.
- 30:37There are two actors, but also four characters.
- 30:40One of them is What was his name?
- 30:42That fool, Gustavete, is like a burde
- 30:45There's Gustavete, who runs the gramo He's mentioned but not present.
- 30:49"Gustavete, are you ready?" He's there, but you don't see him.
- 30:52Leave Gustavete alone! -Now you defend him.
- 30:55There's also the so-called "lieutenant."
- 30:57He's in the cabin, an Italian lieuten who has come up with the play.
- 31:02Look at the lieutenant. He's so calme smoking as if he was a maharajah.
- 31:06Besides, he's a communist. He cannot
- 31:09The lieutenant? A communist?
- 31:11He manifests himself through the ligh
- 31:14He turns the light up and down, he gives them orders with a flicker
- 31:19Only half an hour left
- 31:20The reds, my lieutenant!
- 31:23Don't panic, I was referring to the red buttons.
- 31:26Push only the red buttons at the beginning.
- 31:30I bottoni rossi!
- 31:32You see? Perfect, very good.
- 31:34That's it, that's it.
- 31:35Così, così. At the beginning, così.
- 31:38I bottoni rossi!
- 31:41If this goes on too long, I'm wrecking my voice.
- 31:44Then you will have to be my ventriloq
- 31:46"Then you will have to be my ventriloquist."
- 31:49Lieutenant, how about opening the cabin window to be able to hear m
- 31:54La finestrina della cabina. Aprire, aprire!
- 31:58He plays a main role in dramaturgy.
- 32:01On a technical level, this means
- 32:06that our gaffer, Pancho, has to liste to us. He has to pay close attention.
- 32:11He almost has to remember the text by heart as well.
- 32:14In this case, the lighting
- 32:18is key to the scenography.
- 32:21Basically, it is the lighting that co
- 32:24the whole bare stage.
- 32:28We use the lighting.
- 32:30Since we don't set up huge scenograph
- 32:34we try to recreate with it
- 32:37the different atmospheres of the show
- 32:40Using colors, different types of spotlights, and so
- 32:45we try to create a certain atmosphere
- 32:50to be as faithful as possible to the
- 32:52to ensure the actors can be seen
- 32:54and that the audience is happy with what they see.
- 32:58I watch the rehearsals and try to see the stage.
- 33:00How it would look with this color, with this spotlight coming in from he
- 33:05A theater performance without lightin is half over.
- 33:09It is like another character.
- 33:11One thing that caught my attention when I went to a rehearsal
- 33:15was the atmosphere created when that lighting
- 33:18matched the music composed by Carlos,
- 33:20so I wanted to learn more about his composition process.
- 33:23When you get in tune with all this, it's very easy to make music.
- 33:28Paulino showed up
- 33:31and, just like him, I tried to feel
- 33:34the desolation and loneliness of losing your partner
- 33:38due to something ridiculous.
- 33:40Carmela!
- 33:41Carmela, come back!
- 33:43I beg you, please come back! I don't care if you pretend or lie.
- 33:47Carmela, come back!
- 33:50There was a theme
- 33:52that I titled Stage
- 33:56because it seemed to me that they were going to do
- 34:01a difficult, risky performance, with almost no staging,
- 34:04with black curtains, on a bare stage
- 34:07And I thought it was necessary to fill that space with music.
- 34:12Then, to conclude,
- 34:14there is the value of the song itself with verses like Viva la Quinta Briga
- 34:19or Ay, Carmela, ay, Carmela.
- 34:20This song becomes an inspiration
- 34:23on which to create a unique theme
- 34:26that varies depending on the character and the situation.
- 34:29This is the composition process.
- 34:37The toughest times are coming,
- 34:39those when we will continue to see an increase in the number of cases of
- 34:43Today Spain has become the second country in the world
- 34:46in terms of number of deaths after It
- 34:49A new record has been set:
- 34:52almost 1,000 deaths in 24 hours.
- 34:58Naturally, at that time, a feeling of pessimism and fear
- 35:01had gripped the entire country.
- 35:03And it was logical,
- 35:05since the hospitals were so overwhelmed that all institut
- 35:08were forced to set up field hospitals in sports centers and other facilitie
- 35:13to take care of the patients.
- 35:21Unfortunately, it was also a very hard time for thousands of peo
- 35:25who lost relatives they would never get to say goodbye t
- 35:36To make matters worse, back then, doing the shopping
- 35:39was almost a battle to get items and
- 35:42that were almost sold out as soon as they were restocked.
- 35:49In addition, not only were there cont at the entrances and exits of the cit
- 35:53but also, even if it was for work purposes,
- 35:56a permission to travel between different communities was required.
- 36:00Part of our staff needed it.
- 36:08It was a very hard time for everyone.
- 36:10Something that really surprised me was the resilience of Carmela and Car
- 36:14and the optimism with which they face some of the worst times of our lives
- 36:19while they answered all the interview with a smile on their faces.
- 36:35In spite of all the restrictions and security measures,
- 36:39we had a rehearsal with an audience.
- 36:41For a moment, it was like finding the normality
- 36:45that we were all looking for,
- 36:47although we had serious doubts that the number of people infected
- 36:51would allow the premiere of a play
- 36:53for which the release date was approaching.
- 37:04This is not official.
- 37:06You are not going to see a play, I think you all know that.
- 37:09You'll see us all around.
- 37:11You are going to see a rehearsal.
- 37:13Obviously, we will try to stop
- 37:18as little as possible, but it may happen that at some point
- 37:23there are typical rehearsal failures.
- 37:28This is just a rehearsal.
- 37:30In rehearsals we usually say,
- 37:32"We won't cut unless something serious happens"
- 37:35because it's also good for us in rehearsals
- 37:38to do it in one go.
- 37:39Unless there is a serious mistake and we say,
- 37:42"We have to repeat this," we go on, but it may happen.
- 37:46Have fun.
- 37:48He is Sandro Cordero, let's hear it for him.
- 37:55So, do we have a release date?
- 37:59We can't say yet, but it's by the end of October.
- 38:02There is a date, but it's still a secret.
- 38:04Will the premiere be at La Laboral?
- 38:06In Palacio Valdés. -In the Palacio Valdés Theater.
- 38:09It is a theater that gives great luck
- 38:12Yes, that's why everyone wants to premiere there.
- 38:15Take a little interest!
- 38:17If I'm not mistaken, ¡Ay, Carmela! premieres in October in Palacio Valdé
- 38:22If everything goes as planned
- 38:24One thing we want to show with the documentary
- 38:27is what is happening now.
- 38:29You're working and you don't know what's going to happen tomorrow.
- 38:33You can't leave me like this!
- 38:36Part of me is gone!
- 38:39We will all feel the nerves of the premiere,
- 38:43but we will be looking forward to it, we will be very excited
- 38:47and also curious to know if it is going to be done.
- 38:52It's great if it premieres, but are people going to come?
- 38:55Are people afraid to go and sit in a theater
- 38:59even if they know there are security measures?
- 39:05That was a little scary.
- 39:07The thing is
- 39:10You notice if the audience likes the
- 39:12but the applause is always a sign of affection,
- 39:15of the desire to return to a normal situation
- 39:19where people can keep working
- 39:23and the people who like to go to the theater
- 39:26can come back and we can all meet aga
- 39:31It's going to be sold out because of the capacity restrictions. I hope so.
- 39:35People have continued attending the theater.
- 39:37Furthermore, I believe
- 39:41that they do even with more enthusias as if they were claiming to say,
- 39:45"I still go to the theater in spite of all this."
- 39:51Almost until the last day, we were uncertain
- 39:53as to whether or not the play would be allowed to be premi
- 39:57It seemed that a new state of alarm
- 39:59was about to be decreed throughout the country,
- 40:02but that was not the biggest problem we faced that day
- 40:06Barely eight hours before the premier
- 40:08we had a breakdown in the light table controllers
- 40:12and we had two options:
- 40:13to change the entire set-up
- 40:15or that our gaffer, Pancho,
- 40:16went to Cantabria to get a replacement table.
- 40:20While Pancho went to Cantabria to get a spare table,
- 40:24the team continued with the rehearsal
- 40:26with as much composure as nerves allo
- 40:30but the atmosphere was increasingly t
- 40:44I need some light here.
- 40:46Just over an hour before the premiere
- 40:48the situation was already almost unbearable.
- 40:51Everyone was running around, making phone calls, getting nervous,
- 40:55and Pancho wasn't there yet.
- 40:59Carmela's mother brought this.
- 41:02Okay. -Take them to the box office, please.
- 41:05Okay. -Wait, are they named?
- 41:07Yeah, look. -Do we know which one is for Jaime?
- 41:11I mean, do we know who is which one f
- 41:14Susana Mesa. -Okay.
- 41:18This is yours, take it.
- 41:19For your mother, for Alberto
- 41:23Maybe it is necessary to provide personal data.
- 41:26Javi
- 41:28Okay, so
- 41:30So I take these ones to the box offic
- 41:33Tell them to write their personal dat -I'll go with you.
- 41:37Okay. -Yeah, okay.
- 41:39Are you going out again? -Yeah.
- 41:41I'm calling Carlos and he doesn't ans Can you bring me something to eat?
- 41:46Yes.
- 41:48Let's see if he answers me.
- 41:52Sandro and Cris are there. -Carlos, please
- 41:55José, can you keep your ticket? -Yes.
- 41:57Thanks. -You're welcome.
- 42:01Take a breath, Ali.
- 42:03What happens?
- 42:05In his haste, Pancho had traveled
- 42:07without authorization to move between communities.
- 42:13Although at that time there were fewer restrictions,
- 42:16there were still controls, and as could not be otherwise,
- 42:19he had to stop at a one,
- 42:21adding a new problem that had to be s as quickly as possible
- 42:25without panicking.
- 42:38Although I was there to capture
- 42:41the whole process of the play in the documentary,
- 42:44it is impossible to describe the stre that was in the air at that moment.
- 42:51More than ever it seemed that the play's cancellatio
- 42:54could become more than just a threat.
- 43:05I should be warming up, this is fucking bullshit.
- 43:09While there were doubts about what to
- 43:11and the door opening time was close,
- 43:13the theater managers finished checkin that everything was ready
- 43:17for the public's access.
- 43:20At that point, nerves completely took over the situa
- 43:26You can't be here afterwards.
- 43:46Finally, almost like in a movie, the table arrived on time.
- 43:53While the faulty one was being replac
- 43:55Carmela and Carlos could carry out a quick rehearsal
- 43:58slightly more relaxed, but with a lot more pressure.
- 44:07The Fifth Navarrese Brigade of the Moroccan Army Corps,
- 44:10under the command of the undefeated General Yagüe,
- 44:13has written with its immortal blood another glorious
- 44:16I hung up my panties earlier. -Miss, please
- 44:20Take a look at this magnificent rope made of the purest esparto grass.
- 44:27Well, and that club -Whatever, we'll see.
- 44:30To remember. -What do you mean?
- 44:33Yeah, to tell us
- 44:34I don't think it's funny. -Because you haven't seen yourself.
- 44:38The scissors!
- 44:40I don't like to play the fool.
- 44:45It was the first time that the entire seemed to breathe a sigh of relief
- 44:49knowing that the premiere was no longer in doubt.
- 44:53Especially, when the audience began to arrive to the theater.
- 45:03Beauty is on the edge of the cliff.
- 45:06Only when we look over the edge of the cliff,
- 45:09we discover the real value of things.
- 45:12This production is significant and valuable
- 45:14because it is made from the cliff.
- 45:16If Carmela decides to take one more s towards the cliff, I will gladly take
- 45:25I love you. -I love you too.
- 45:56When the applause from the audience b
- 45:59many of the adversities and uncertain that had followed us for months
- 46:03came to my mind.
- 46:05Maybe a small part of the theater's m
- 46:08joined Carmela's enthusiasm and determination
- 46:10to overcome all kinds of problems
- 46:13and make the play a great success
- 46:17that I am very happy to have been involved in
- 46:20immortalizing the whole process.
- 46:43Thank you, thank you.
- 47:07Thank you!
- 47:16Thank you!
- 47:24Hi!
- 47:27Thank you!
- 47:37THE PREMIERE OF ¡AY, CARMELA! WAS ACCLAIMED BY CRITICS AND THE AUDI
- 47:44ON MARCH 27, 2021, THE PLAY WON THE AWARDS FOR BEST SHOW
- 47:47BEST PRODUCTION, BEST DIRECTION AND BEST MALE PERFORMER
- 47:50AT THE OH! AWARDS OF THE ASTURIAN THE IN LOVING MEMORY OF CRIS
- 47:56BEHIND THE SCENES (WHAT NO ONE SEES)
- 48:00A JOSÉ RIVEIRO DOCUMENTARY
- 48:04WITH CARMELA ROMERO
- 48:07CARLOS MESA, CRISTINA LORENZO,
- 48:10SANDRO CORDERO, ALICIA ROCES,
- 48:15PAULA FERNÁNDEZ, CARLOS JOSÉ MARTÍNEZ
- 48:20PANCHO V. SARO.
- 48:23SPECIAL COLLABORATION OF JOSÉ SANCHIS SINISTERRA
- 49:06THIS DOCUMENTARY WOULDN'T HAVE BEEN POSSIBLE
- 49:09WITHOUT ALL THE PEOPLE MENTIONED
- 49:42FILMED IN GIJÓN/AVILÉS 2020-2022
- 49:49Please, I need a coffee.
Un documental sobre el proceso de producción de la obra teatral '¡Ay, Carmela!', de José Sanchis Sinisterra.
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