daughter of Roberto Fugazot Y Maria Esther Gamas, transcendental figures in the golden years of Argentine entertainment, Maria Rosa Fugazotat 80 years old, is a clear example of study and perseverance in action. She made her stage debut at 15, working first in comedy, and then in various genres such as drama, revue, concert shows, and musicals.
Consequently, her path as an actress, singer, star and dancer anointed her as a firm representative of versatility on stage. She went through cycles and several films of Alberto Olmedo Y Jorge Porcel On the other hand, they made it possible for her to show herself as a great comedian. in chat with DailyShowthe experienced interpreter spoke about her career, her life, the present and her dreams.
-Recently you mentioned having certain personal financial difficulties. What is your situation?
-It is that we are all complicated. As long as they don’t let us work moderately in peace, difficulties will overwhelm us. One tries to put everything beyond certain eventual discouragements. On the other hand, I don’t know of any other system than the one that allows us to continue paddling it.
-Are you living in a property donated by a friend?
-Yes, I am fixing it little by little and paying for all the “dead” left by the tenants. Some time ago I gave my apartment to my son René and the country house, meanwhile, became the property of my eldest son, Javier. I made the succession to them while I was alive, so they don’t waste money and time on paperwork when I die. We are managing in the best way.
-Everything is done uphill.
-If there is no path in which everyone, absolutely everyone, can raise what is fallen, the situation is going to get worse and this is what makes me desperate. I, thank God, am in good health, I am 80 years old and I fend for myself and whenever I can, I go to support my children and my friends. It is not to dramatize the problem of one in particular, but rather to show what happens to any neighbor’s son.
“Thank God, I am in good health, I am 80 years old and I take care of myself and whenever I can, I will support my children and my friends”
-What you do for Javier and René is worthy of appreciation.
-It is that every mother fights for her children. I am interested in them as well as my grandchildren and I therefore want another world, another country for them. That they may have education and possibilities. Normal people who love their family, their life, fight for them so that they can have a generous future. My case is not exceptional, there are many people who fight for their entire family. We must stop arguing all the time and see how to get out. The analysis of who made this or that mistake does not matter today, the important thing is to get together and pull the same car.
-What do you dream for them?
-I would love to see an open road with many possibilities for my grandchildren. And thank God because he gave me two fighting sons, forged in the very chore of daily work. And this is a wonderful triumph because many times one tries and it doesn’t work out. I am happy with the life I have and I try to preserve it. I like to open the doors for them so that they can move forward calmly.
How would you define this stage of your life?
-I would have liked to fulfill my obligations in the kindest way possible. However, it is what we got. Note that I was born in 1942 and have consequently gone through all the crises that the country has experienced from then to the present day. Always, personally, I had a way out and a path. I never gave up. Today I thank the universe that I am well and on my feet. My head works and my body responds, beyond the attacks typical of my age. I walk straight and I can move, in short. And there are people who can’t do it.
-You are still in full activity….
-I am, thanks to the producer Aldo Funes who continues betting like nobody else on the production of great shows, enjoying “My mother-in-law or me” with Alberto Martin, Adriana Brodsky, Kity Locane Y matias santoianni on the stage of the remodeled theater “La casona”.
-Comedy is still one of your favorite genres.
-Of course. Also, people need to have fun and, in this case, it is a text from Gabriel Almiron directed by Aldo Funes. It is a very funny story, with changing situations and crazy characters.
How did your parents influence you professionally?
-They were more than vital and necessary. My old woman worked as far as she could and my old man helped me think about the codes and acts of life in the profession. He always told me: “Remember that you came into this world naked and you leave naked. When you have money, live in the best possible way and help whoever you can. And when you don’t have it, cut a tomato in half and live, too, from the best way possible.” It was a very special family, I am grateful for every moment of life. And also to be able to stand, enjoy good health and overcome all the inconveniences that come our way.
-And Dringue Farias and Carlos Castro, “Castrito”?
-They were unforgettable, two great friends. They have been like two uncles to me. They not only played with me, but they were bearers of a particular tenderness. Castrito would take me, on the other hand, to the movies and afterwards we would come singing, down the street, what we had seen. They have been part of indelible memories of my childhood and I will be, forever, very grateful.
-What do you remember from your time with Alberto Olmedo?
-El Negro became a great friend. I had the chance to share many hours with Alberto and we had a great time in every way. It was a beautiful friendship, he came home to eat and every time I meet some of his children it’s like a way of being with El Negro again. An endearing guy everywhere.
-You always liked, on the other hand, diversity in labor matters.
-Without a doubt. I like to try myself and, on the other hand, opening up to different possibilities enriches my professional structure. the remembered Juanita Patino He distinguished me with several “Atrevidas” awards because he said that, from the artistic point of view, I honored that attitude on stage. I like my work, sometimes it came out with greater or lesser success, but always with much love and respect.
-Did it cost you, at any time, to get rid of a particular character?
-No not at all. My great teachers taught me to leave work in the theater itself. Look what a paradox, sometimes, when you’re not having a good time, you prefer to continue with the character in question (laughs). It is something random, an artist has to know how to live with reality and live as he can with determination and convictions.
With “My mother-in-law or I” at the Teatro La Casona
It is hard to believe the age of María Rosa when she goes on stage at the La Casona theater and sparks with Alberto Martín. In the comedy “My mother-in-law or me”, directed and produced by Aldo Funes, the actress plays a mother-in-law who, behind her facade of a cold and hard woman, hides a heart afraid of loneliness.
The show tells the story of an Argentine middle-class family, with all the details that this implies, with a housewife and a son, already married, who had to return with his wife to live in his mother’s house. And this is where the story begins to get complicated, going through scenes of tenderness and humorous situations.
The differences that nest between the group of historical interpreters and the current ones were observed by Fugazot in these terms. “The fundamental thing is that today the artist has generous opportunities to educate himself and acquire the greatest amount of knowledge possible. This is very important for his artistic path. Everything that one can incorporate into their professional baggage is decisive and will enrich you, not only in the profession, but also as a person. To young people I humbly say try to learn and open your mind to all kinds of possibilities. Knowledge can make everything easier for us and better understand a profession that never ceases to be challenged. And, on the other hand, it is applicable to any type of activity. The alternative of learning has to do with someone’s willingness to be able to include things to enhance the work that one does.”
-How do you see the picture of the situation of national fiction?
-Complex, but things are being done within what is possible. The productions have a high cost in each of their areas. The attempts are there and the efforts come together in the acting field as well as in the technical field. We have to keep fighting, not give up, and move forward to see if we can recover that wonderful television that we knew how to make in not so distant times. We have to contribute a lot of work and, somehow, we have to continue with this objective.