“If I weren’t trans, I wouldn’t be doing it,” says actress Marian Moretti about her leading role in will burna one-man show about a trans woman who has a mysterious relationship with a politician of whom she was a lover and adviser, and which has just premiered on June 11 at the Portón de Sánchez, a prestigious independent theater in the city of Buenos Aires where it will have performances every on Saturdays at 10:30 p.m.
The new production written and directed by Alejandro Schiappacasse means the return to the stage after almost three years of an actress who has also been an instructor of fitness (“I am very restless”), has recently worked for Netflix and HBO and questions the commonplaces about trans characters on the screen. Moretti has managed to balance his transition (from a gay man to a trans woman) with his roles on stage and on television, but the attention this brings is something she watches carefully.
“It is a matter of disadvantage in trans people,” he says in a video call with TechMarkup. “In any profession, our identity comes first, and what we do requires a double, triple and quadruple effort. Or the other way around: there is the bias that we can’t do it, when in reality there are trans, transvestites or non-binary people who are over-prepared and have the talent.”
His new work is a daring second-person monologue directed at a character who isn’t there. It presents three simultaneous readings or paths: how what is narrated is revived by Marian’s character, how it is imagined and how it is happening from her point of view alone. The three assessments seek to highlight “the personal situation of loneliness and vulnerability of its protagonist.”
Although this may sound sadder if you add the purple that colors the scenery, the actress specifies that it is “the story of a claim” from the perspective of a trans character. “That attracts me above all things. It’s the story of a trans woman played by a trans actress, so it’s round. It deals with invisibility, non-recognition, what it feels like to be in the shadows, ”adds the actress about the work that took her nine months to prepare.
Marian Moretti is from Buenos Aires. She trained as an actress at the Buenos Aires Theater School of Raúl Serrano, her teacher. In a moment of uncertainty about what she would do with acting and how she would “work” with her new identity, Serrano told her that “there was no problem with her transition” and that it “would not be a brake.” for her career. “On the contrary,” she predicted.
“When you are traveling you realize that doing things is easier, much more possible than when you have them only in your mind, which forms a snowball with the brakes that you put on yourself”confess.
He recently joined the cast of the long-awaited Netflix bioseries about Argentine singer Fito Páez, The love after Lovewhich still does not have a release date but will review 30 years in the life of the musician. Moretti cannot say anything about his participation yet, but he promises to naturally join an acting proposal that seems to comfortably inhabit the theater or the screens.
“I am comfortable in everything as long as it is with acting. I don’t know if ‘comfortable’ is the right word though, because acting is uncomfortable and welcome to be. They are completely different things. In the theater, if a mishap happens there is no turning back, you have to surf it. It requires another body expression, another voice projection, they are different skins, but the theater is what I have traveled the most. Cinema and TV have other times, make a scene and give everything in seconds. They both have distinct discomforts and pleasures,” she adds.
In March of this year, Marian recorded for Palermo Divisiona new Netflix series, and starred in the video clip the sky of the bad, by Patricia Malanca. She also played Delilah for the series between men (HBO, 2021), an Argentine police drama.
If you name influences, Moretti says between laughs that Pedro Almodóvar is “like a Nostradamus” and has been “the great reference of our community.” He also remembers with amazement having seen Cris Miró on TV and Norma Aleandro in the theater. He points out that transvestites, trans and non-binary people have always been there but have been made invisible, and that is “a different story”.
His speech also points out that trans actresses can take more roles from trans people, but at the same time that “corporeality” is not put above talent. “Why do heterocis people play trans characters and we can’t play cis characters?” she asks, noticing an imbalance in the performances.
However, it seems to him that there have been “a lot” of changes and that is how he has felt it in the productions with which he has worked. “But sometimes we make fun of it, we see an actor ‘disguised’ as a woman, playing our role and he’s dressed like a little clown. That’s not funny anymore,” adds the actress.