The actress Marilia Pera replied with a beautiful smile when he heard talk of his perfectionism. “I’m just dedicated,” he said, with a mischievous air, trying to minimize the tremendous effort that used to compose any role, especially in music, genre to which he devoted himself harder in recent anos.Estudiosa of classical singing and also the dedicated tone exclusively to the music, the so-called belt, Marilia, in addition to careful to follow the records of scores, focused on memorizing the letters. “If the composer thought of particular note, why exactly should I change it?” She said to justify the loyalty and commitment.
This impressed colleagues. Miguel Falabella, faithful companion of stage and television in recent years, has always stressed the way the actress indulged in any kind of paper. “Marilia forced us to a commitment beyond the normal, no one could falter be in the note, is the choreographic step, realizing the commitment of Marilia. One of the few examples of a consummate actress that we still have in this country,” he commented.
Because of this, Marilia could also, by simply changing details such as costumes, create very different characters. In 2003, for example, a number of different hairstyles Marília identified. With short hair, she took the stage for the show Marilia Pera Canta Ary Barroso, who was back in theaters in Sao Paulo. With a long curly wig, she also lived the character of Madame Clessy in the film version that Jofre Rodrigues prepares the piece Wedding Dress, written by his father, Nelson. And, in the rare spare moments, I was preparing to cut the locks on a hairstyle flush with the back of his neck to take the mythological figure of Coco Channel in the play Mademoiselle Chanel, written by Maria Adelaide Amaral about the woman who, to dictate new directions women’s fashion, also pointed a revolutionary conduct for women. “They are very strong and wonderful characters that require a great job of preparation and concentration,” he commented.
To live Chanel, Marilia regained his intensive research, similar to what he had to live another diva, Maria Callas, in the play Master Class. The creation of Chanel, Marilia made several surveys – read biographies and articles, watched dozens of photos and closely followed the few moving images left over from the stylist. “Chanel was a mysterious woman because it offered many faces,” he told the actress. “Despite his aggressive speech she made to walk a delicate way.” Marilia concerned with the choreography of the character, representing elegantly Chanel common gestures like putting a hand in his pocket (or the waistband of the skirt), while the other holds a cigarette. “She is an actress who reaches the soul of the character,” observed the director Jorge Takla, who Marilia worked in other productions like the musical Victor or Victoria?
The research was an endless activity, for her . “The theater is like an eternally unfinished frame, where new details are added” justified Marilia, who had to have a ritual: always arrived early to the theater, was vocal and physical exercises and only after sounding the first touch is that wearing the clothing of your character. “I have great respect for the costume,” he confessed.
The professionalism extended to the productions in which Marilia Pera driving. There were several shows, but certainly the most enduring was The Mystery of Irma Vep, which debuted in 1986 with Marco Nanini and ney latorraca, and that was 11 years in theaters, a fact recorded in the record books. An assembly “backyard” – so she remembered the first scenario, an experience exciting at the same time as improvised. “We use other pieces of clothes, borrowed wigs, some change here, another there … It was like this:. An assembly ‘young’”
There was a wild change of clothes – 56 in all, none exceeded 30 seconds to maintain momentum. Also there were improvisations, the banter between the actors, play with the audience. The comic vein Marilia Pera, one of the greatest comedians of TV and stage, has proved essential for the achievement of good results.
Another curious moment that showed the virtuosity of the actress in the musical Glorious !, happened directed by Charles Möeller and Claudio Botelho and which opened in 2008. There, she played Florence Foster Jenkings, American soprano who became famous for her complete lack of rhythm, tone and all the singing skills. In other words, the worst in the world opera singer.
“She could not hit any note, making their concerts a real mood of the show,” had Marilia. “Thus, his concerts have become concorridíssimos and people gargalhavam during presentations.” Afinadíssima, Marilia was required to find out first what it was like to sing right, then unlearn singing. “I also hope to be booed,” playing it, which, in fact, never happened.
No comments:
Post a Comment