Argentine actor Fabián Vena, in an exclusive interview with the Argentine News Agency (NA), analyzed the upcoming premiere of "The Divorce of the Year," the dynamics of the cast, the contemporary perspective on relationships, and the philosophy that guides him as an interpreter. The actor, preparing for a high-profile debut, expressed enthusiasm for the creative process and reflected on the emotions that the play, as well as his own personal experience, evoke. Vena stated that the team is in a moment of high concentration and energy: "We are very excited, very focused from the first moment. If there is a message in the theater, it is not well done." "Theater generates questions. Imagine the level of work we are doing." He also praised the direction of José Muscari: "José has the lead, who not only has so much experience, but also works in a very precise, demanding way, and ultimately gets results." When asked if his own divorces were a basis for him to headline the play, Vena replied that he has been playing a philosophy professor in another show for three years: "Let me tell you, not all of us are professors, but we have all been students." He also drew an analogy between learning and love relationships: "Not only does separation always have bad press, but it is also part of the same bond. The answer is individual because each one goes through their own journey." "I worked with Alcon and I said, 'No, this year the crisis.' Otherwise, where is the meaning and criterion for growth in the profession?" "We all have records of our separations. I don't know if continuity is a value. We have all been children." Vena explained that the show will include both current emotional realities and family ties: "Everything you just said, the new stage, the networks, the way of communicating, today's valuations, will be there, but also the loving bond, the children. The spectator will be a son, will be a father, will be divorced, will be the one who wants to recover the couple or the one who looks to the side and says 'look at the mess that is happening here, my love,' or the one who chats after seeing the play." "Theater generates questions. If you want to send a message, send a telegram," Vena shared a teaching that guides his way of working: "A great Russian master said: if you want to send a message in the theater, send a telegram. We have a great cast, a director, and authors who are already proven to be doing things that really stand out on the billboard," he affirmed. With humor, he noted that he always fears being the link that breaks a streak of successes: "I hope it's not the exception here, because one is always afraid of being the one who cuts the flow. I do know that feeling good, feeling accompanied, being happy in a couple bond is much better than maintaining continuity." Vena stated that practically all people go through separations at some point: "If you take a poll of who has not separated, no one will appear." Regarding the emotional work of the actor, he maintained: "Everything that has to do with our work in terms of generating emotional images has to do with our own history. If it is not a game that we can lose, to empathize with a clay court and go out to win it, we do not come." "Everything that has to do with the construction of the theater, the mobilization that it means, the repetition of many functions, if that is not linked to pleasure, to vocation, to growth, it becomes a torture," he detailed. Finally, he closed with a personal definition: "It is always a great risk, and in my case every time I add a role it is because if there is a risk, there I get involved. It is what, in the end, you end up resorting to when making a character with truth." "I want the entrance, I want the dessert, don't leave me out anything". When asked about the current approach to relationships, networks, and new affective languages, Vena assured that everything will be part of the play: "Surely we live in a different era, but I also imagine that it ceases to be a play. If the play is good and the topic is flapping the milanesa, it is because you are still talking about it. And I told him: 'Alfredo, please, I don't want to go down in history as the one who puts you in a situation of failure.'" Vena also highlighted the work of the entire cast and praised Rochi in particular: "It will surprise you a lot, a lot it will surprise you." The actor celebrated the pace of the work: "We are a month in and we already have a full run. That has to do with Rochi, who is our daughter in the play." Meanwhile, he added a reflection on the audience's identification: "All of us on stage are parents, but we could not be. What happens? Now stay calm that we are going to fill your ass with questions," said the actor. Finally, the interpreter spoke about the acting challenge: "If there is no challenge, we do not come. The whole salad will be there." As a spectator, Vena demands totality: "If I am going to see a play called 'The Divorce of the Year,' mom, I want the whole complete salad." Buenos Aires, December 1 (NA) – In an exclusive interview with the Argentine News Agency, Fabián Vena analyzed the upcoming premiere of "The Divorce of the Year," the dynamics of the cast, the contemporary view of bonds, and the philosophy that guides him as an interpreter. The actor, who is preparing for a high-profile debut, showed enthusiasm for the creative process and reflected on the emotions that both the play and his own personal experience activate. Vena assured that the team is going through a moment of high concentration and energy: "We are very excited, very focused from the first moment. If there is a message in the theater, it is not well done." "Theater generates questions. Imagine the level of work we are doing." On the other hand, in the same vein, he highlighted José's direction: "José has the lead, who not only has so much experience, but also works in a very precise, demanding way, and that in the end gives results." In addition to talking about the play, Vena was asked if his separations were a pretext to be able to head the play, to which he commented that he has been playing a philosophy professor in another show for three years: "I tell you, not all of us are teachers, but yes, we have all been students." Likewise, he drew an analogy between learning and love relationships: "Not only does separation always have bad press, but it is also part of the same bond. The answer is individual, because each one eats the trip. I worked with Alcon and I said: 'No, this year the crisis.' Otherwise, where is the sense and criterion for growth in the profession?". #AgencyNA We all have records of our separations. I don't know if continuity is a value. We have been children. It happened to Alfredo.
