Oriol Genís: “There was a time when I didn’t know how to face a text”
Among the 90 shows of Greek 2025 is a delicatessen like I count every step on the earthin the Atrium Room from July 14 to 22. In this monologue there are three accomplices such as Lluïsa Cunillé (writing), Xavier Albertí (direction) and Oriol Genís (Interpretation). We talked to Badalona’s actor about a project that is expected to be a note and a trajectory that has reached his zenith in maturity.
Oriol Genís
Barcelona Theater: Not much of his documentation is found on the Internet. Weird in someone with their career.
Oriol Genís: To my daughter (the actress Júlia Genís) I tell you that I am an outsider. It is also a personal attitude, surely. He was a very shy person, it was very difficult for me to break the eggshell. That is why he went unnoticed, although his vocation was there.
How did that time of profile live?
Obviously helped Maria [Maria Andreu, la seva dona] had a fixed salary. She was a little underground, like the Guadiana. At the beginning I made an anti -militarist cabaret, linked to the movement of conscientious objection. He did so in a hyperaternative circuit. It was a great school, like street theater with people from high school as in Manel doso. We were great imitators of the Comediants.
“My mother did amateur theater. She was the one who planted the seed”
Was there a theatrical tradition in your home?
My mother did amateur theater. She was the one who planted the seed. At home they wanted to study a career and started law and philosophy, but I left it to introduce myself to the Institut del Teatre. I entered the 76-77 course. That time was brutal, like discovering garlic soup for me.
What did he do after finishing at high school?
Especially children’s theater with companies like The drill and U of worm. I stayed a little stagnant, though I got to enter the Free to do The magic flutebut it did not have continuity and an impasse came in my career.
When was this stagnation broken?
With Xavier Albertí. I didn’t know him and I did something I have done many times: I called him. “I read that you are preparing a work and I do not know if you have the cast closed,” I told him. Gave me a very small role to the Troilus and Cressida of the Free (2002). And I could check the special way of working.
Oriol Genís and Xavier Albertí in a promotional image of ‘I count each step on the earth’
In what sense?
One day he said, “I want you to do this here, that and that.” They were contradictions and I said, “Well, how is it done?” “You yourself,” he replied. Then continued our collaboration with a work on the songs of Boris Vian. My wife pushed me to call her to direct her. And I was already part of its people.
How many works have you done with him?
I do not know if they are 24 or 25. I have been able to enjoy their masters, in the special way of doing someone with an encyclopedic knowledge. We have always understood each other very well. I have been willing to do whatever I asked. If I wanted it to go on stage with a thong, I did. And I also called him when he mounted PPP. Pasolini is one of my references.
The TNC T6 project was another key in its revival.
I arrived at T6 as a substitute forArtur Triasthat I couldn’t. Then I was also at The tattooed rose of Carlota Subirós Because I called him. But yes, the T6 was a very nice experience. I remember the Don’t talk to strangers about the Franco regime, which made theHelena Tornerowith whom I have always had a great deal of complicity. Then we did Kabaret Protokollwhere my daughter Júlia debuted.
‘Kabaret Protokoll’
With T6 he also experienced some startup, let’s say so, with the Gai Cabaret Gang bangby Josep Maria Miró.
Cristo Rey’s guerrillas threw fetid bombs and tried to assault Oscar Castellví with a stool. The fired councilor came out to get them out. It was a time when I said, “Take me and eat that this is my body.” There was a good package. I told the costumes to make me a dress so that they did not recognize me when I went out.
Within his musical facet, he created the character of Andrés Villarrosa …
‘The Melódico del Trémolo Metónico’ by Bodega Bohemia. It was like an alter ego, with wig, mustache and total dandruff songs. After Marc Rosich mounted a dramaturgy from some interviews that he did, ¿What was Andrés Villarrosa? It is a two -sided job, between character and actor.
‘What was Andrés Villarrosa?’
Albert Arribas is also linked to his career.
He is another person whom I have been lucky to know. It was from a dramatized reading of a new work, which he had translated. We made Fraudwhich lasted seven hours, then an anti -tribute to Feliu Formosa and, lately, Verbagalia and Imaginary operetta.
And now Lluïsa Cunillé also crosses again on his way.
He sent me an email with the work and told me that it was the first time I did it thinking of an interpreter. I read it and I really liked it. It is the story of a kiosk, of a normal person. He is about to operate the heart, is in the hospital and tells his life to the lord next door. It’s like a confession at the end of life.
“Since I am retired, I do not stop working”
How do you see your future at the age of 75?
I am already retired, I was forced when I did the 65, and since then I started to have a job non -stop. There is a break after a path where I have done very complicated things. And there was a time when when I was given a text, I didn’t know how to deal with it.
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