Together, but separated

They release this week individual unipersonal in the Seat and the Multitheater

In a armchair of three bodies, they are Edda there Diaz and Carlos Perciavalle sentaditos each one in an end although in the photo sees them splendidly splendid. During char it an inevitable mutual affection of people is strained who know themselves all the life, but also take care of the distance. Together, but separated. Something similar to which is going to happen this week, since both return to the theater, but do each one by different ways. Today, it will release "Cartonedda", in the one of the bars of the Stroll Seat. , Wednesday, will release "Carlos Perciavalle, the one of yesterday, today and tomorrow", in the Multitheater.

Long ago that was not seen. "it is an eternity yesterday…", almost points Perciavalle in a deep vein of his personality. "For like 12 years that we did not see ourselves. What happens is that Carlitos lives in End of the East… ", points she almost excusing themselves or justifying themselves. Nevertheless, its young years, next to Antonio Gasalla, Edda Diaz and Carlos Perciavalle they were transformed into a registered tradename of the renovation. In the delicious Sixties they studied together in the National Conservatory and next to a close litter of artists they formed and they founded what concert occurred in calling the coffee. "We studied together, we amused ourselves together, we worked together and we made things impressive - Diaz says to Edda -. If we had made a race typical we had perhaps not dedicated ourselves to humor, but here us tenés…".

- In those years of formation, they glimpsed that they were going away to dedicate to humor?

Perciavalle: - No, I wanted to be Alfredo Alcón.

- and vos a Maria Rosa Gallo?

Perciavalle: - No, a Bette Davis, by the chiquitita (they are ed ***reflx mng). I every time I tried to make theater tragic as people ed ***reflx mng themselves, I clearly had myself to dedicate me to another thing.

History, already on legend elements, tells that as soon as finished the Conservatory, Perciavalle started off for New York where it was working in a salita of the Village. Meanwhile, it blunted the vice in the beautiful one and sadly disappeared Odeón theater. Historia/leyenda says that together they made "Songs to watch" and "the Kaleidoscope" until, together Antonio Gasalla and Nora Blay (who soon moved away of the tables) released "Help Valentino", in the Recova, sucucho located in the Avenue of the Liberator, as opposed to the missing Ital Park.

That spectacle marked before and later. With time one became a landmark, a mark, a place of nostalgia by the times nonlived by which - by a generational question they did not have the opportunity to see it. "a plaquita Would have to be put there that says here" changed Argentine humor "", it affirms she.

- He was so asi '?

Diaz: - Without a doubt. He marked a more intellectual humor, more finished.

For the stage scene of "Help Valentino" they counted on the ayudita of Antonio Berni and Edgardo Giménez, among others. "When you entered the small room seemed as a sky with stars and in clouds films of Valentino projected, but with changed voices that were warnings of the television", the self-appointed "king of the coffee remembers concert".

"the public entered a scope which there was no difference between silverplates it and the actors. He was of an incredible imagination ", remembers she. "and from - he continues Carlos, always camouflaged behind eyeglasses" to the Maverick style "- a little arose there the participation of the public, because in that place he was almost absurd not to speak to him to the eyes to the spectator."

-"Help Valentino" was released in the 65…

Diaz: - No, he was the 23 of July of the 66. She is one dates that I have noticeable to fire…

He is worth the explanation. That night, between the public, was the critic Ernesto Schoo, who always remembers that at that same moment account occurred of which, along with what it was happening in the Institute I gave Tella, began a new time in the history of the Argentine theater whose echoes arrive until today.

"It is that what we did was bold and different. On the other hand, we were four humorists, which of by himself already was all one rareza.Y was so the success that were sold the entrances with four months of anticipation ", remembers Edda enthusiastically Diaz.

"and fijate vos which then nor we left in the billboards of newspapers - connects Perciavalle in a dialogue sifted by nostalgia -. Era more than to under: he was off of off. In order to enter, people had to run the clothes of a neighbor who always left hung. People said that everything was very "package", very "amused". But it was truth which happened there. In that site I lived and when the spectators went away, she removed the pillows and she made the bed in the ground. It happens something: the actors really we cannot make another thing that to act. I studied a university race, Edda is masterful, Antonio is almost odontólogo… but if we did not act we cannot live. I am 62 years old and the happiest moments I passed them in scene."

In an article published in 1971 in the Opinion, Carlos Ulanovsky arms the following steps to that success: "Edda Diaz, Gasalla and Nora Blay released a memorable divertimento called" Dejémonos of histories and cosaquiemos cosaquia ". While, Perciavalle failed with "Help Scherezade" but it left ahead with "Kesakeyo", in the Incandescent Sprocket wheel ".

- With the them, passage of time weight the past?

Diaz: - No, for nothing. I feel that I am totally effective. He is more, the previous spectacle I fulfilled an old dream to put a nose to me, to the best clownesco style, because he felt that he had something new to give. Nonstrange nothing, nonalive of yellowish papers. Memory the date of the opening of "Help Valentino" because it was a landmark in my life. That is to say, memory when I knew it Carlos and when that same day I ran into with Antonio… That yes memory. And although it spends long time without we see ourselves, they are in my life, in my humor. If whenever we opened the mouth I realize of which I have things of them and they of me, because they were many together years… For that reason it enchanted the title of the spectacle of Carlos, that to me of "yesterday, today and tomorrow".

Of those years in sucuchos with unusual names (as the Erótico Chicken or the Lame Rooster), Edda Diaz and Carlos Perciavalle became to join around ago 24 years. The spectacle was called "Two stars, two destinies". "it was not to us well. I analyze the failures and think that we were confused just of seat because we released it in End of the East and was to release it in Buenos Aires and, there, to take it to End. It was a spectacle of a quite intellectual humor that did not work. We separated with much pain ", remembers Edda Diaz.

"But there is something is important in the life as much of Edda as in mine: the failure never must touch the heart to you and the success never must raise to you at the top. When you feel that you movés with tranquillity ", it contributes Perciavalle.

- They comprised of a collective phenomenon, like the coffee concert, and today they release unipersonal. How he is that?

- Perciavalle: - To me it enchants to me to make unipersonal.

- Diaz: - He is very practitioner. My spectacles enter a valise. I arrive and I do them. Meanwhile I make other things, but always I have by hand a unipersonal one.

Perciavalle: - I have made "the cage of the crazy people", "Night club", magazine with Tato or Moria, in the Maipo. Everything, plays. But to make unipersonal I give me to please, likes.

- What you thought when it does few years became to join Carlos and Antonio?

Diaz: - I always knew that they were going away to join, as well as in a while given we joined Carlos and I. Carlos is a very generous person and wanted that we joined ourselves. I know of its certainty, is bullfighting. He is able to demolish a wall to obtain what wants. I am not I took root, which I want it profit of another way. But he knew that Carlos was going to return to join itself with Antonio, was safe.

Carlos, behind those black eyeglasses, draws in gesture of gratefulness, genuine approach. She as soon as he whispers: "It is the truth, Carlos". Soon the photographic session begins. And they put, and they are ed ***reflx mng with its better smiles because they are professional in his. At the time of the goodbye they are amiable to each other, but there are hugs or no promises (false, but perhaps diplomatic) to become to see or to share the openings of its respective works. And although each one starts off for its side, of something one can be safe: after the interview them they must of have appeared images, hugs, sensations of those times of "Help Valentino", of those crazy Sixties that they helped to transform into more mythical, in closeer, in more orientation of the work of the artists who followed to them. Because, in the history of the Buenosairean scene, if that generation that forged to the coffee concert had existed, those that we comprised of the litter of the eighty we had been able to enjoy the Urdapilletas, of the Prawns to the Ajillo, the Batatos, the Mellis, the Tortoneses nor of everything what it happened in the Parakultural as a whole.

It is certain, in the block of Liberator to the 1000, where these gentlemen released "Help Valentino", he must have a cartelito that said here "changed Argentine humor". So far, the avenue Current has two posters that announce their respective spectacles. He is not nothing bad.

Edda Diaz

Carlos Perciavalle

Edda Diaz speaks of its "Cartonedda": "I make different personages and between all they arm a glance of the country, by something is called thus. I believe that all we have something of cardboard, I talk about the comedians, mainly. And in the route until memory to the Chaplin who, to the 5 years, walked joining things in the street to give him to eat his mother. Clear that everything is counted with much humor ".

In that pantallazo Mariano Grondona, Elisa Carrió, Mauro Viale and Chiche Gelblung will appear drawing up a metaphor of present Argentina.

Perciavalle speaks of its show: "I make a revival of small pieces of some personages but, rare thing, I do of me. That is, I am going to be black dress with some lost golden purl that way, but all sober one. Of what it will speak '? It will depend on people. From "Help Valentino" always the public was the other protagonist of my spectacles. I am intuitive a born one. My only drama is that Carlos Rottemberg (owner of the room) requested to me that the spectacle did not last more than one hour and average. That is tragic, because for me that is "hello" and "good bye". We will already see… "