With the energy typical of her younger years, the artist, considered one of the greatest faces of interpretation in Cuba, returns these days to that expression that overflows her soul: the performing arts.
In statements to Prensa Latina, the interpreter highlighted that she will play the lady with the veil in the play Requiem for Yarini, scheduled to premiere in the second half of June by the Teatro El Público company directed by Carlos Díaz.
With a script by Norge Espinosa and staging by Díaz, the actress will later return to the stage with A Sunday Called Desire, and to the cinema with a short film titled Intemperie, directed by Amén Perugorría.
He recently exhibited at the Fábrica de Arte Cubano the work The Red Beans, by the Trotamundos company, which he will resume when his work commitments allow it, as he assured that it is a staging that is highly demanded by the public.
Prensa Latina transmits the interview conducted last year below:
We often want to escape from reality or inhabit other bodies to live sublime experiences and the interpretation of the Cuban Verónica Lynn leads us towards those sensations when she abandons her skin to become art.
She could appeal to memory through an authentic Saint Camila from Old Havana or a masterful Doña Teresa in the novel Sol de batey, but just naming her is enough, she is Verónica Lynn, the greatest face of acting in Cuba.
As a child she was a great film buff, and although she did not know theater, the greatest of her passions, she wrote her own works while imitating great artists such as Bette Davis or Betty Harford. Fortunately for many, fate helped so that Verónica was also one.
At six years old, I was fascinated when I saw a Shirley Temple movie and decided that I wanted to be like her. From that time on, representation was undoubtedly very important to me, commented the actress.
At 23 years of age and with a talent that was beginning to emerge, he won a place in the cast of Teatro Azul, a live program that at that time was broadcast by studio four of Cuban television under the direction of Gaspar Pumarejo.
The first time I faced an audience was with the piece Amok; The theater has a special charm, because you are in view of the viewer, the same does not happen with cinema or television, there if you are on stage, it fascinates me, he expressed.
Verónica considers herself a faithful disciple of the acting method of the Russian master Konstantin Stanislavski that she learned thanks to Andrés Castro, a technique that in her opinion opened doors for her, as it allowed her to further develop her interpretive abilities. Stanislavski teaches that you must organically process the character’s life and events, through the situations he goes through you reach the end, it must be a process as surprising as life itself. As an actor you have tools and you know what that end is, but you don’t work for it, she said.
With his role in the play Mondays, Wednesdays and Sundays of Love Palmolive, he captivated many television directors, thus obtaining his first contract after the triumph of the Revolution.
The performer’s ability to unfold and squander talent in the most varied characters is undeniable. How does she achieve it? Nobody knows. It is a special gift that has accompanied her throughout her 92 years, which she celebrated today, Sunday, and that she deserves the affection of Cuba for being an artist with capital letters.
With an extensive career in film, theater, radio and television, Verónica is especially known for making her own the role of Saint Camila of Old Havana, a religious mulatto woman without much school knowledge. According to critics, her performance is currently considered unsurpassed.
It was extremely difficult to play her, many actresses have done her well, but my Camila is my Camila. With her I decided not to make a profession or stereotypes of the mulatto from the lot, I studied the human being that she represents, she is a beautiful character and I adore her because she is a symbol of our idiosyncrasy, he said.
Another who earned him countless signs of affection was Doña Teresa, the landowner from Sol de batey (1985). To form it, she took the help of a psychiatrist, who showed her how a woman with an illness that caused alterations in reality behaved.
The actress is pleased with the roles she has played throughout her career, and although she prefers them all, she has a special affection for Camila, Luz Marina from the play Aire Frio, Martha from Who’s Afraid of Virginia Woolf?, and Fortunata of Fortunata and Jacinta.
Almost at the end of the interview she seems to forget her role as Rachel’s mother, the protagonist of The Beauty of the Alhambra (1989), in her opinion one of the best films that Cuba made and which she thoroughly enjoyed making.
In acting, no one can single out anyone, all the actors were spectacular, as a medium it is a good film, with first-class billing, it reflected a time better than any other film, and the political and environmental work was impeccable. If they choose the five best Cuban productions, this is one of them, he highlighted.
In addition to acting, teaching is another of his passions. Together with her husband, the deceased actor Pedro Álvarez, she directed the national movement of amateur theaters for 25 years.
The artist confesses that she is terrified of directing and acting at the same time, apparently with her current play Los Beans Colorado she gave way to fear to give herself body and soul to the manifestation that enchanted her senses from the first moment.
It is a staging by the company Trotamundos, founded by Verónica and her husband in 1989.
Among the awards that the actress holds, the distinction for National Culture, the Alejo Carpentier Order, and the National Theater and Television Awards, in 2003 and 2006 respectively, stand out.
One of the recognitions that I want most is Youth Teachers, it was awarded to me along with Eusebio Leal, I cannot compare myself with this wonderful man, he emphasized.
The playwright Ramón Silverio, Omara Portuondo and Frank Fernández also received it, but for her Maestros de Juventudes is Leal. When asked what her career meant to her, she responded:
It is one thing to be an actress and another to be an artist, I say it with pride, Verónica Lynn is an artist.
It only remains to congratulate her on her birthday and for giving soul, talent and passion to this expression of art that in Cuba takes shape in her face.
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