Are the two actresses most brilliant of his generation. And, for the first time, share the stage. Pascal Rambert, one of the totems of the european theatre, has created for them a poetic and painful piece that reflects on the guild and how we make family ties

‘Sisters (Barbara and Irene)’ arrives at the Teatro Central in Seville on 14, 15 and 16 of December, and to The Peacock Theatre Kamikaze January 10

Barbara Lennie has something wild on the stage, nothing sounds impostado on his lips. Sometimes, it looks like a volcano about to erupt and, when it finally erupts, an earthquake shakes the stalls. “She works from the truth, every thing that he says is very true. Never seems to be something learned, but that comes out of it,” reflects Irene School.

For its part, the lesser of the Gutiérrez Caba pisa tables with so much authority that it seems that I would not have done anything else from the cradle (and some of that there). Its looks childish hides a virtuoso of his craft. It’s like a stradivarius of the interpretation. “Irene has an emotional capacity amazing, with a bow of records so broad… it Can be very clownish and, at the same time, the more serious. You can be 16 years of age and 35. Alucino with his technique,” explains Lennie.

Both already have a Goya, and have built their careers performing around the two totems of our theatre (Miguel del Arco, in the case of Lennie; Àlex Rigola, in the of School). Young and seductive, their interpretations have left their mark on the orchestra, but if they mention that they are the best actresses of her generation, Barbara is slipping out a laugh that seems very true. “Is that it gives me laugh with these things.”

Never had agreed on a deal. There, they meet them in Sisters (Barbara and Irene) suppose one of the events of theatre of the season. The vehicle that brings together, in addition, bears the signature of one of the great creators of european theatre, Pascal Rambert, artistic associate of the legendary Théâtre des Bouffes du Nord. “There is something very powerful in putting in your soul, in your body and in your mouth what is written in Pascal. Gets you into a universe that you can’t find easily. A few texts will change, as theirs,” explains Barbara, who had already worked with him in the very painful decommissioning of love, a fierce dissection of the (des)of love that he performed with Israel Elejalde, then your partner beyond the stage. “That assembly was a schism in my life. For me, the confrontation of this text is the most difficult thing that I have done and I think that for the Isra also. On A personal level, I felt that I was in a predicament completely new. I remember him with a lot of passion, with a lot of love and also as a nightmare. I’ve never been so nervous, nor have I gone worse that doing that role.”

“I’ve Never been so nervous, nor have I gone worse that doing that function,”

And even so, he returned to say yes to Rambert. “The worst thing of all is that I’ve searched for this reunion,” he says, and his laughter turns to resonate in the dressing room of The Peacock Theatre Kamikaze, where you have the interview. After its premiere at the Teatro Central in Seville on the 14th of December, Sisters (Barbara and Irene) come to the stage in madrid on the 10th of January.

The mount is written by the director galo expressly for them, a luxury that in no way has facilitated the work. As explained Irene, “I have come to take two days to learn four lines. There are things that don’t end up entering. I had never experienced that. It’s like studying an opposition. But at the same time there is something very joyful. You feel a mixture of love and hate is very strange. Everything is being a nightmare, but I think that then, once estrenemos, we will enjoy a lot.”

The writing of Rambert, more than theatrical, it is deeply poetic. The overwhelming manuscript you sent them has no points or commas, flows like a mighty river, and full of powerful images. “He writes flows of language, of thought”, explains Barbara.

On the tables, both embody two sisters who were spit reproaches to the face, two women came out of the same parents and that are not recognized. “At the beginning, the work was a monologue, a very long and Pascal broke. Are two women that might actually be one,” says Barbara, an explanation that reminds the Person of Bergman. “Yes, there is something to that.” And also reflections on how the links that we establish with our parents determine our life, how it can be very brilliant intellectually and a disability, emotional connection to your own children that you have fathered. In the piece they also appear as recurrent themes in the work of Rambert, as our responsibility to the society that surrounds us or the language as creator of reality.

School emphasizes the loneliness that runs through his characters. “These are two people who are caught up in a loneliness quite stormy. It costs them to get out of that penalty. There is a strange feeling of abandonment and guilt that pollutes their relationships with their partners or in the workplace.”

The two actresses moved to Paris to rehearse the text with Rambert at the Théâtre des Bouffes du Nord, the temple that was raised by Peter Brook in the ‘ 70s. “It is a very spiritual. One night we ended up passing the text and through the window he saw the Eiffel Tower lit up, that was.. Phew”, snorts with emotion Irene. Both have given themselves totally to Rambert, who defined it as “a pure being, somebody who lives for the theatre from the rising to going to bed. For him, theatre is an act of love”.

~Barbara Lennie: What you write is very difficult, but then makes it all easy, is not boring and that is something that each time I appreciate more.

~Irene School: Sisters, I have the feeling that more than ever, we are instruments. It is as if we were giving a concert. Not that I had ever passed. It is as if interpretáramos a symphony of rhythms, tempos, musicality, breathing…

The topic (macho) dictates that when two top actresses agree on the scene, there is usually clash of egos and a competition to take the role. For example, Concha Velasco always remember how Mary Carillo will boicoteaba her scenes in Good night, mother. But these are other times.

~I. E: When I work with an actor who is very good, far from being an established rivalry or competitiveness, I can only think that if the other is good I will do better to me and is going to achieve that I is at its height. That happens to me with Barbara. I love how it works and I say to myself: “I have to get to your level, I won’t missing anything”.

~B. L: happens To me the same. I would not have gotten into this mess with someone who not to trust much. Irene has a level of incredible work. Is crazy. Watch I I am obsessive, but Irene is wonderfully obsessive. I’m at home studying and I think: “She will have already reviewed this 25 times.” So I start to study again. It is difficult to find that stimulation in other people.

Both are friends from many years ago that no longer remember, nor how they met. “I think we were introduced by a mutual friend. Barbara, you I recommended to a movie.” Note the camaraderie between them. In addition, they share a philosophy very similar, a constant search for the challenge. In his career stage there are no slips or missteps. Barbara Lennie explains it this way: “we Both share a love that is visceral and deep for our craft. The two follow an instinct that has to do with an artistic journey, that’s not going to both with the commercial or be famous, which is something that I think is great, huh? Not critical. If you enjoy it, go ahead. That is what is important: enjoy your path and do not give the pain in the neck to others. I don’t want to fall into that, saying: ‘it seems wrong to do x products’. Let the people do what they want! Others will think: ‘How heavy and how intense are these two, to see if they relax a little’. Well, they still have reason.”

“ours is an artistic journey, that’s not going to both with the commercial, or to be famous”

And despite all this, both are aware of the tyranny of the red carpet that leads to your profession. “To me it cost a lot, it was something that I generated a lot of insecurity, and with which I felt comfortable,” explains School. “For years I have stopped taking it so seriously and I have learned to let go and enjoy, even though it is not what I like”.

Barbara Lennie has precisely one of those red carpets important in Seville, a day after the premiere of Sisters. Saturday 15 will fail the European Film awards, where he is a candidate for Best Actress European Petra, Jaime Rosales. “Sometimes, the awards season may be saturating you. But I don’t mind. On the contrary. A part of this profession, of the product that we are and I am aware of that. It is part of my job. If I can help the movies to see, as well. The awards and galas in which I paint something I will, and if not, well, nothing.”

to Be an actress at the age of #MeToo raises complex moral dilemmas. Every time there is talk of the limits between the principals and their interpreters. At the end of last week, they wanted to boycott a show of Jan Fabre [The generosity of Dorcas] in the Festival High Season. The creator has been accused of sexual abuse for 20 of its performers. 40 people returned their entry to the festival.

~I. E: I Think that when a creator makes that kind of shows with that imagery so powerful is because maybe you have a trauma or inside a world that is very dark and you can only get through art. When you show up to a test to Fabre, for example, you know which place is going to take you, where are you going to be placed. He is a man who is going to do that you screwing to a tree in the middle of the stage. There are many ovaries to get up onto a stage and do those things. And who does that must have an inner voice that asks you to do that. In the end, there are shots to enter in the workshops of Fabre because he is a great creator. And this does not justify anyone.

~B. L: This is a very sensitive issue. I do not like the black lists. Sometimes, it is difficult to put the limits. When you work with a creator you know where you’re going to wear and it is also your responsibility as an artist to say yes or no. Perhaps there are women who not only do not suffer, but I want to take it to the limit.

Both have been shown to be actresses that know no boundaries. Sisters (Barbara and Irene) is your next leap into the void.

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