Actress Estela Garelli spoke in depth about her work in 'Sisters of Blood', the play she stars in alongside Jessica Schultz, and revealed details of the creative process they went through to bring to life two sisters crossed by family tensions, mandates, and marked differences. In an exclusive interview with the Argentine News Agency, she referred to how much of her character is in the play, the challenges of independent theater, and her desire for the play to return in the coming months. During the interview, Garelli explained that one of the first objectives of the work with the director was to build a true bond between the two actresses, even though they had never shared a stage: 'Initially, I would like to tell you how we worked with the director to establish those links, because we had to create a very deep bond.' The actress recalled that although she knew Jessica Schultz from the same television era, they had never worked together, so the preliminary process was key: 'The director did a very deep, fun meeting work for us. We were exacerbating all of that.' One of the aspects that the actress valued most was the challenge of building such a precise universe with an austere set design, something typical of independent theater. The play is set in the 1960s, and according to her, this forced them to work meticulously on every detail: 'First, it was a challenge to recreate that era, because the play says it is set in the 60s.' Garelli explained that this reconstruction was achieved through costumes, wigs, props, vocabulary, and small elements of scenery that helped both the actresses and the audience immerse themselves in that code: 'We had to recreate that era from the costumes, from the wigs, from the way of communicating, the vocabulary.' Among those objects, she mentioned some that even belong to her personal story and ended up being integrated into the play: 'The can of photos in which I look for my mom's photos is a can that I had, bought in Mar del Plata.' In another part of the conversation, Garelli referred to the resemblance she finds between herself and Miriam, her character in the play. Far from completely detaching herself, she recognized several coincidences in the affective realm and in her way of relating to others: 'Yes, I have a lot of Miriam in me.' The actress listed some traits that she feels are her own and that also appear in the character: 'I have from Miriam a very protective thing towards my family, towards my friends.' She also talked about her affectionate side and her connection to the everyday: 'I am very affectionate, I am very huggy, very touchy.' She even allowed herself a funny confession about a scene related to food: 'You don't know how hard it is for me not to eat until after the song.' However, she marked an important difference regarding motherhood, which is addressed in the play, and shared that she has a 31-year-old son and defined herself as a very present mother. From there, she also recounted the personal learning that it meant to accompany her son's independence, who is dedicated to photography and climbing: 'I had to learn a detachment that has to do with not fearing.' The actors she dreams of working with When speaking about her professional career, Garelli also confessed with which figures she would like to share a project in theater. Among the actors, she mentioned Omar Núñez, whom she defined with enormous admiration and added a definition about him: 'I think he is one of our huge, great contemporary actors.' As for the actresses, she expressed her desire to work with Lorena Vega, whom she praised both for her acting and for her direction: 'I like everything she does, I admire her very much.' The preview of a new project and the possible return of the play When asked about what's coming this year, Garelli announced that there is a new theatrical project underway, although she preferred not to give too many details: 'There is something there that we are slowly cooking, but I can't say more. It's a monologue.' In parallel, she made it clear that the current situation in the audiovisual sector is complicated and recognized that the situation for actors in the film industry is difficult: 'In film, we are in a very complex situation for actors.' Anyway, she was convinced that in times of crisis one has to bet even more on creative work: 'I firmly believe that when there is a crisis, one has to decide, in any way, to expand one's creative space.' As for 'Sisters of Blood', she said that the play had already had a first stage two years ago in another theater and that this new season revived the desire to do it again with continuity. According to her, they are already in talks to resume the play in a new space: 'We are already seeing which theater we can take it to, probably on Sundays in May.' 'We still can't say where, because the issue is not yet closed, contractually, but it is likely that we will return,' she detailed. Beyond the play, the actress left a broader reflection on the social moment and the need to rebuild ties from the everyday: 'I believe that violence is disarticulated with good treatment.' The interpreter stated that today there is a very high level of aggressiveness, but considered that the answer cannot come from the same place: 'We have to lower the decibels.' Finally, she proposed that the way out, both artistically and socially, has to be built among all: 'Every time we are willing to do what we know how to do, and we do it with that willingness to give the other the best, it cannot go wrong.'
