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Home People Spectacle Georgina Barbarossa: “Doña nonsense is me”

Georgina Barbarossa: “Doña nonsense is me”

The popular actress seasons Masterchef's nights with the best national humor. And in search of the best dish, between wigs and jokes, the smiles that Georgina Barbarossa makes are bright travelers.

Spectacle
Georgina Barbarossa

Nothing stops Georgina Barbarossa. The actress started with Pepito Cibrián, shone with capocomists of the genius of Juan Carlos Mesa, Antonio Gasalla and Enrique Pinti, and actors from the carats of Héctor Alterio and Oscar Martínez; and reinvented in driving in the nineties, and in musical theatre, with “ Doña Bambuco and “ Chicago.”   And, to keep moving, Georgina made modern telecomedies in the two thousand, “ Blind to Dating”,  Manuucha, and fiery novels of mediatarde, “ Sweet Love  ”.  So the pandemic could not be an obstacle, none, “I don't stop COVID or anyone . During the months leading up to  Masterchef  , I worked on  Radio Zonica  , gave classes and various streaming shows,” says the showwoman who sang in them classics tangueros, and the hits of Maria Elena Walsh, and warns, “eye that complied with all possible protocols.  But I never stopped leaving. The coronavirus I have respect, not afraid. I think fear is the worst word that can exist among humans. The day you're scared, you sounded . It's a word I have denied. One I refuse is fear, and the other is no. That's two bad words in my vocabulary. When I did a neurolinguistic programming course in 1978, I learned that the word no, does not exist. You have to rule out these kinds of expressions, don't you get me a glass of water? You have to go for the yes, always. One has to be positive, always. I correct people a lot when they say, don't you give me the keys? No, sir! You have to say, will you get the keys for me, please? “, concludes Georgina with positivism at the stick.

 “ To my students the first thing he said is that they have to be happy, and positive, to enjoy on stage. Don't be afraid of ridiculous ,” says the owner of a gallery of characters worthy of the lineage of a Niní Marshall, and broadens her teaching facet: “I always look at the glass half full. In a pandemic we were able to teach the world from Tel Aviv to Jujuy. From eighties to girls of ten. At first we thought about separating the groups but we see once again that the big ones learn from the boys, and the boys learn from the big ones,” says teacher Georgina, and dreams an on-site function self-managed by her students, “the base of the theater, as we teach with Diego Rinaldi” , and works by Federico García Lorca.

Georgina Barbarrosa

 

Journalist: From the participants of  “ MasterChef Celebrity Argentina ”,  in T elefe  , the fervor you wake up in the family, especially in the youngest.

Georgina Barbarossa:  I'm very happy because it's a program that allows me to reach other audiences, and they didn't know me, like kids . They're amazing his drawings about me on the nets, and with my wigs. Brutal.  First of all, I want to make it clear that it was Santiago del Moro idea about the wigs, and then, the costume player gave the okey, and not how it was published everywhere.   Now yes, I am very happy about a program that allows me to continue in popular taste.  And to be the Aunt of many Argentine families .

 

Q: Do they really suffer in the removal galas?

GB: They're horrible because you're aware that you're on a  reality , and that we're competing program by program.  But the truth, there is zero competition between us. We helped each other a lot. Even jurors, who look like ogres, help us a lot so that we don't make horrible dishes . If even Santiago throws us good and encourages us if he sees us lost with the evidence. Santi challenges me like I'm my brother!

 

Q: Before the program, how would you define your kitchen?

GB: She was a mom who cooked, well, with half-Tilingos children who did not like fish, or ketchup, or mayonnaise. Nothing  gourmet.   And that I come from a family that cooked barbarian, the Basque (Miguel Ángel Lecuna) also, and my children phenomenon. Even Thomas studied with Cat Dumas.  But I was just a mom who cooked. So I had to study with Rodrigo Toso, my cook on TV when I was driving, and Rodo Castro. It is that all participants always take private lessons in addition to those they give in the same program . There's a teacher there, called Bacu, loves vegetables, and I turned the kitchen. With  MasterChef  I learned about the presentation, as important as preparation, and how to mentally order myself in cooking times.  And understand that in the kitchen, along with patience, you have to put love...  

 

Q: In addition to the galas, do you feel the pressure of the times of a television contest?

GB:  A lot. Especially the three infernal minutes of the supermarket. You're always forgetting something. I suffer because there's nothing nicer for me than going to the supermarket.   Of course now I enjoy double when I go to the super home, although I don't enjoy it so much when I see the prices. Another, is that speed makes it not noticeable that I'm mega ultra tidy at home. On the channel, no one believes me.

 

Q: What was the kitchen you discovered in  MasterChef ?

GB:  What I liked most was discovering Indian food.   I thought it was an unattainable world, difficult, and it's not at all difficult. A meal my two children can eat, because they don't eat flours. Great. When I traveled I bought dozens of spices, which I never used, and now I use a lot.  I really liked that today in my house I eat a Basmati rice with raisins and fruits, in coconut milk Spectacular!  

 

 Georgina's motorcytes  

Q: We're talking about cooking and children, it seems like a present mother, is it invasive?

GB: Aaaaaaahhhh you have to cut your fingers with WhatsApp. Especially with the boys. We have a group only with my children and daughter-in-law, which was previously called “risotto”, one of my specialties. But it came out like the tujes on the show and it was called “gramajo ex risotto”, which with all that ham and fries, the mellis loves, heh.

 They're very loving, they call me every minute, so there's no invasion. I did learn that messages have to be written and not long audios . Imagine that I sometimes have a hundred messages on my cell phone while I record the show. Anyway, I have it programmed to sound if they call them, or the family. Especially since my mother passed away — Susana - She accompanies me daily, like the Basque, and they enter like butterflies home, who say they are the souls of loved ones. Or I don't drop things inexplicably.   It happened to me with some pictures, and necklaces, in the hallway of the dressing room, a few days after Susy left. And I said, “Mom, stop making a mess.”

Georgina Barbarrosa

 

Q: What makes you proud of her children?

GB: (Think)  Juan was working in a bar until the infinite quarantine caused him to close the premises. And he said, “Mom, don't worry, I'm delivering the bike.” That gives me tremendous pride because they know the value I give to work.   They never asked for a weight. Not for the SUBE card. All I did for them was buy them an apartment, and I already felt like I had done my share. My other son is a photographer, Thomas, and, you know? , neither of us wanted to work in the media or be famous.

 

Q: Why?

GB: I was just talking about that on the show with Maria O'Donnell.  I never took the boys to a mall, to a hamburger or to the zoo. I appreciate the fame, but it made me lose the privacy of the street.  The one who took care of all that was Dad, and I was very envious, that he could take a collective, and feed elephants with our children. We lived in Palermo Viejo and, as the matteos kept near my house, the Basque came back with them in mattheo... he was always a magical father for twins. Instead, with me if we were going to the super, I would get them in the cart because people were coming by a smile, or an autograph. That made me practically not have life with them away from home (long silence).

 

 We fears and love 

Q. That's 20 years of your husband's murder, how did you face the day after?

GB: (silence)  That was a paradigm shift in my life (silence). I faced fears differently and didn't stop.  I didn't lower my arms until the murderers were imprisoned, then they went out for good behavior, but justice did its job. I relied heavily on the Mother of Pain, because I thought that if they had overcome the worst thing that could happen to you, the death of a son, I could also continue. Besides, I wanted to continue for my children and give them the example of work, of strength, of not falling.  It was a change not only for me, but for the whole Basque family, the daughter, the niece, the ex-wife, sister Belcha — bold in Basque. From that moment on, we built a very close family . We had differences with my siblings later, but we were always clear that the family was first and foremost. And what amazes me is that our differences never reached the boys here, in Seville, Brazil or Cordoba, places I have scattered family.

 

Q: And what unites them?

GB:  Love for the family. I always insist that the family is the mother card of society, just as we were taught at school . As long as marriages don't last now, and fortunately those unenduring are over, I will always be in favor of the family.  Family is the one that contains you, and that's where you hold on in difficult times.  

 

Q. Was Michael the great love of his life?

GB:  Vasco will always be the great love of my life.   I've had other couples, but they know number one is my husband, in the present. And it's not like we had a life in pink either. We were very different in various respects and, in the end, we lived in separate houses so as not to argue. The boys were asking if we were boyfriends or we were married. Ha. I remember it was a subject even at Mirtha Legrand's table in the 1990s, that I couldn't believe that existed except Woody Allen and Mia Farrow.  But I have plenty of nice moments left together. On the other hand, now I think the discussions were about pavadas. One realizes that when he is young, he rolls up for every stupidity (pause). That would change it (it breaks).  

 

 Cordoba, my place in the world 

Q. Now that you live alone with your dog López, aren't you tempted to live in your Villa Giardino home?

GB: In principle, I now live with my niece, Lucia, who studies theatre in Buenos Aires. And besides, I tried it a few months ago, but I miss my kids a lot. I'm dying. Actually, right now I have part of the land for sale. I'm going to keep only the main cabin, which we did with the Basque.  Anyway when I finish MasterChef I'm sure to go to the Villa for a few weeks, which is my place in the world.   Imagine that I planted over 120 fruit trees, pulled tons of stones, made the organic garden, and worked a lot on earth, a hobby that I love.  Without a mom, I probably spend more days, but the thing is, I miss horrors to my kids. They're the light of my life, my motorcito.   Even when I do seasons on the Costa, Cordoba or Mendoza, the first thing I organize is the visit of Juan y Tomás.

 

Q: If I tell you that she is one of the national capocomics, do you recognize it?

GB:  I think it's too much. I'm a comedian, really, an actress of drama and comedy, and I feel like capocomic is a huge word in the country of  Tato Bares  and Nini Marshall. Nini was our Charles Chaplin .  And that had to fight a lot against the macho prejudice of Argentina.  Luckily, I have several awards, but the one I love most was given to me by the immortal Catita. She would come to all my premieres and then gave all the cuts to improve my performance.  On one of those visits, Niní gave me a handkerchief with a kiss from his lips, and a card that says, “I hope it will serve you to rinse your tears” (It is excited).  Of the last show that was already very old, a one-man at the Teatro Maipo that was called “Georgina esta re-vista”, I have a very nice photo where I appear leaning on her lap and she caresses me . This is the best prize that gave me the race. And as long as life, they're my children.  

 

Q: Of the thousands of characters he played in the forty years in the  Argentine show , from “History of a climber” and “20 years is nothing” to “Los Grimaldi& rdquo; and “A premiere, a wake”, any favorite?

GB: I don't lose hope of re-riding  Maria Elena Walsh's “Doña Nonsense and Bambuco”.   By the time all the rooms can be opened, I have the cast ready, and the production sharp with Rubén Cuello.  It's a play I'm going to do until the day I die. Doña Naparate has marked me and I feel very identified with her beautiful madness. She allows you to dream, keep playing. No actor gets older because he's always playing, you see? Doña nonsense is me.  

 

Publication Date: 02/05/2021

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