She is used to being seen performing in India as well, even though audiences don’t memorize her last name.
In 2019 his art reached Hyderabad, the capital of the Indian state of Telangana. On stage you spoke to Asians about Malvinas’ pain and discovered that pain “has no nation”, that it can permeate any sternum, whatever the homeland.
In recent months his pain has disarmed those who saw him Argentina, 1985. A white handkerchief, a way to tie it and a few scenes were enough for his mother in the Plaza de Mayo to move from Jujuy to Hollywood.
Anahí Martella does not have a name in the film Santiago Mitre. For some it could refer to Estela de Carlottobut it was decided that his character should not be named, which symbolizes the struggle.
«In 2019 I learned about the research through the networks without knowing what it was about, I sent my material and forgot about it», she tells excitedly about that role she shot between chin strap and alcohol gel, in a Mothers office of Plaza de May and in the Palace of the Courts. In the latter location, In front of 200 people, she couldn’t contain the river that inhabited it when they asked her to cover her hair with that white cloth.
Ricardo Darín’s kindness was the key to that internal tsunami. Darín was for her an old acquaintance of the televisions of the eighties. They shared a lump in their throats without imagining that, embracing Taty Almeida in Buenos Aires, they would see him walk the Oscars red carpet at the Dolby Theater in Los Angeles.
“I didn’t have any painful family situations related to the horror of the dictatorship. I was 16 in 1976, but I remember that tension in the air, my mother very attentive, worried about the time I was going to and coming back,” she recalls. “Carrying the DNI with me today has to do with the haunting memory of that time.”
Anahí’s EKG comes with depths of spikes in recent years. Before the pandemic, the sole proprietorship was hired 74 days of autumnby Laura Garaglia, a reflection on the Malvinas in which she crosses four characters: a fighter, a fighter’s sister, a principal and the homeland itself.
With more than 40 years of experience in film, theater and television, it is not for nothing that the restless curly-haired woman is part of the Department of Movement Arts, as a teacher of Complementary Acting 2 at the National University of the Arts (UNA) .
It was precisely in that cursed 1982 in the Malvinas that Martella made his professional debut on the stage of the Teatro del Este, directed by Santiago Doria. At that point she has body the puccia, by Oscar Viale, with music by Chico Novarro. He decided not to go down more than one stage.
The first television work had that theatrical imprint that is part of its DNA. “I remember it was a concert us and the others, directed by Rodolfo Hoppe. The setting: a party of 15 where I had to whisper to the 15 year old that a boy was cool. I put my voice as if he were in the theater,” he laughs. He immediately caught the attention of Inda Ledesma, who directed him at ATC, Cstories to see.
The first contract arrives people like people, as the daughter of Beatriz Taibo and Ricardo Lavié. There was no time for jobs outside of acting from then on, the craft becoming a prop in more ways than one. She barely flaunted her skills as a typist in a fleeting visit to a print shop. His “ink” was elsewhere. “Every time we meet my former Pellegrini colleagues, who are now CEOs of companies, they tell me: “You’re the one who did what he wanted‘”.
The “middle” child of a housewife and a payador, a poet, variety songwriter, and jeweler, spent her first 12 years in Caballito. You later moved to La Paternal, but Flores was the neighborhood that left its mark. Of Armenian blood from her mother’s side, a student of the Arzruní Armenian Primary School, the food and traditions of that culture have crossed her childhood and adolescence to mark the rites of her adult life.
At 18, after a painful family trial, he decides to enroll in the Municipal School of Dramatic Art. He was fed, he graduated, but it was later when found in the classrooms of Agustín Alezzo the teacher: “You came here using all your tools, you just didn’t know the names of those tools.“, gave him the blessing of the pioneer teacher in the introduction of the Stanislavsky method.
Raised by Alberto Migré’s telenovelas, the design of destiny then inserted her into the television creations of the prodigious author, such as a voice on the phone OR her against me Your last name may not be familiar in the crowd, but every time you walk through your door, the reaction is the same. “You are Amalia of flowery. You are Antonia from Gypsy. Or Silvia, from gas carrier.
The TV of the 80s/90s and 2000s multiplied it in scenes of High Comedy, The Strange Lady, Poliladron, Rebelde Way. She even raised a Martín Fierro in a group for a hilarious 90s Agulla & Baccetti commercial for Telecom in which she starred as she received an incomprehensible call from her husband from Río Turbio.
The advertising market took her through Ecuador, Chile, Mexico and Uruguay and the humor made her a right actress for crazy people, but she didn’t want to corset. She shone with the neo-grotesque Venice, by Jorge Accame, on tour in Spain, Venezuela and Brazil, e it brought moviegoers to tears in Texas, Madrid and London with the tour of the aforementioned 74 days of autumn.
For Martella, Winner of an ACE 2005 for Best Off Show Actress, hers is a race of endurance. From that appearance on that recently released color television, there remains the one who has a high level of acceptance of the constant “no”, and the one who understands that “it’s not about something personal, the market may require something that is not suitable for one”.
Parallel to the magic of acting activity, the first thief AND father courage develops a facet linked to the “alchemical, spiritual and energetic”: “I don’t throw away cards, nor am I an astrologer”, she warns about her role as “Speaker”, as she calls the path she has begun 23 years old, after dabbling in meditation groups and founding Casa Violeta in 2010. Early on, for that venture of candles, cleaners and other wellness products, his colleagues warned him: “They’ll burn you like a witch.”
-Why are you acting, Anahi?
-I’m about to explain what I think my soul has chosen. As a person evolves, they need to understand things about themselves and integrate them. It’s as if I have to stage a part of me to free it, to let go of that ghost. The acting was inclusive: characters come to me who casually have to reflect or work on something. See my latest works: judge, prosecutor, soldier of the Malvinas, mother of the Plaza de Mayo. Everything had to do with justice and memory.
Source: Clarin
