Ana Garibaldi: the actress who went for a gig and became the favorite villain of "El Marginal" - Shows Ana Garibaldi: the actress who went for a gig and became the favorite villain of "El Marginal"
With a career strongly linked to the theater field, the life of Ana Garibaldi (52) unfolded smoothly, between teaching and acting in theater, a format that has given her great projects, such as those she carried out under the direction of Daniel Veronese , and with whom he went out to walk the world. But everything changed six years ago when, after seeing her in a performance of Claudio Tolcachir's "Tercer cuerpo", producer Pablo Culell was shocked by her interpretation and promised himself that one day he would call her to work on television. It was only necessary to wait for a character to appear to suit her, and she appeared: Gladys -the woman and accomplice of Mario Borges- from “El Marginal”.
With this character, Ana, who began acting at the age of 15 and has never stopped since, began to be recognized on the street. Although it was not his debut on the small screen, where he had been part of productions such as "Soy Roxy" (Public TV) and "Treat me Well" (El Trece), it was the first time he had continuity with a character very different from all. her previous ones, and that he defied her in every way.
In dialogue with EL DIA, the actress, who is married to a restorer of works of art and with whom they have little Amanda, referred to her participation in the popular series created by Sebastián Ortega that jumped from the state signal to the Netflix catalog , where a fourth season has just been released that continues to break reproduction records. In these new chapters, Ana stars in moving scenes, due to her rawness, violence and drama.
Ana Garibaldi and Claudio Rissi as Gladys and Borges in “El Marginal”
-When they proposed this character to you, did you say yes right away?
-Yes Yes of course. He came from a place that was very good. I did not know that it would have the impact that the series had. No one knew this was going to happen. But I said yes, it was work, the books were interesting. I entered as if to make a gig, I didn't know how long the character could last, and the thing grew.
-It was growing in protagonism, in drama, in violence. He has had an impressive climb. How did you experience the development of your Gladys?
-You climb, and rich things happen to the character, adding layers. Violence never ceased to exist, because we are in a prison environment, really very marginal, but it is something where you can work on other things, it is not just doing the bad, period. The script asks you for more things.
-Gladys has several nuances, how did you work the process of building her?
-I created her with this idea of a woman who goes very far. The chewing gum helped me a lot, although she seems stupid, but he gives her a suburban imprint and places me in a more secure place. And she was built as the scenes were arriving, because as I was like a gig, I didn't know how I was going to continue. And to that base, to that imprint that I gave it, the books were added and there you start developing, with your imagination and it is armed with your scene partner.
-Did you take any reference from cinema or television?
-Not really. Because I went for a bowl, thinking that it was going to end quickly, and then it started to grow. I work very intuitively, too. The average TV that asks you for that. In theater around there one has a little more time to think and rehearse. I think that what happens to you is very of the moment, very instantaneous. But I think there is something to the position, the shape of the body, the clothes they chose for me, the makeup. All of that helped me a lot. In addition to the director's markings, of course.
Ana Garibaldi's character moves between revenge and horror
-Did you have any experience in the tumbero genre?
-Do not. Any. It was the first time. In fact, it was the first time that I went to a real prison, as it was when we recorded in Caseros. I had no contact with that world.
They say that the walls speak. Was that thick atmosphere felt on set?
-Yes, a lot. I always tell it, because it's real. Caseros prison has a history of common prisoners but it also has a history with the dictatorship, a very, very heavy history. And entering that place you can't help but feel it somehow. Without getting mystical or anything, because it has nothing to do with that. But the walls are there, it's a real stage. Obviously that later transcends and becomes your stage and the place where you eat, where you chat, laugh and go on to something else. But I remember going back the first few days and having a strange feeling of not understanding what was happening to me until I fell talking to colleagues who felt the same. Until it becomes scenery. If you connect with what happened, or with what we think happened or what we imagine, it's hard.
“For the sex scene, I was interested that the authors thought of these bodies that are not the bodies that were used to be used”
-And how did you experience the change of location for this new season?
-They put together something that is really impressive and also sinister (...) Walls were erected, real bars were put up. Everything you touched was construction, there is no cardboard thing. Everything was in the scope of that giant factory, and everything was used. And obviously it was conditioned. Real bars, real wooden benches. That gives you a feeling to act that is very good.
-All the scenes inside the prison were recorded there?
-Yes. Everything that is in prison, is there. You have the part of the cells, the dining room, the patios, the bathrooms, the stairs. It's terrible, anyway (laughs).
-In the previous season you starred in a sex scene that was highly commented. Was it difficult for you?
-When I read the book I said 'fuck it'. In 'Treat me well' I had done a sex scene but very calm, more romantic. But here I found it interesting. I said 'wow, how hard I have to do' but I was crazy. I was interested that from the book, the authors thought about these bodies, both Claudio's and mine, which are not the model bodies that used to be used, because now everything has changed. I was interested that they told that part of the couple and that they put it in that challenge.
-Apart Gladys could not be shy in that aspect.
-No, she could be shy and besides, she is her husband for years and she must have visited him in I don't know how many prisons and this is a common situation. He was imprisoned I don't know how many times and I have made I don't know how many hygienic visits (laughs). I imagined that a bit, without knowing any data. But at the time of recording, what was good for me was that it was one of the first scenes of the season, I didn't have to wait and think a lot about what was going to happen.
-You got rid of it, let's say.
-Sure, but don't get rid of it for doing it quickly and bye, because I enjoyed it. But I didn't have to think too much. What we talked about with the director, and with Claudio, is that it really is a raw, passionate scene, where they are seen with the bodies we have, and doing it. What I don't like, in general, is when I see sex scenes, I don't like the typical scene where the actor gets up and drops the towel and leaves the frame, or the girl with makeup on the bed. Those kinds of things are very unlikely, they take me out as a spectator of the story that I am participating in or watching, and I did not want that to happen. The only thing I asked is that we go with what it is. So it was and so it came out.
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-In this season, you have extremely raw scenes, one in particular that is heartbreaking. How did you handle it?
-It was all very respectful. Nothing is random and the truth is that I even had fun. What I am telling you is terrible, but as an actress I was able to have fun in the tests we did. There's a lot of help too, from the special effects and art people: they tell you you're going to fall here, you're going to get punched here, you're going to do this. There is an armed choreography so that you don't get hurt, don't have a bad time. So all you have to do is act, which is what you know how to do and what you try to do. It was not complex.
-After that scene, comes another one of great depth, in which Gladys shows an unseen side.
-I wanted to tell you there, what I imagined in my house, is that even though Gladys has all this imprint, and is a girl who if she has to shoot you, she hits you and she is violent, she is a woman . And for her to pass that on to her, with all that baggage that she has and where she is always dominating situations that she wins, it seemed to me that it was very hard for any woman. I wanted to tell something about that fragility and luckily the scene was there, they gave me that opportunity.
-And how is everything saved...
-I believe that, as happens to many people, they cannot tell; and aside because she doesn't want her husband, who is locked up, to go crazy and won't be able to do anything until revenge.
-Beyond the drama, you have scenes that, I imagine, should be fun to face as an actress.
-The scenes we do with Silvana (Claudia) make us laugh. Whenever she has to do the holsters I drink. The first shots I had to hit were in season three, and that scared me. I was afraid of hurting someone or hurting myself. I immediately gained confidence and I liked it (...) The scene of the break-in at that shed where the festivity is is barbaric, it's very funny. And then also what happens to her doing what she does to the kid. What happens to her are very nice things to act. From the book and the direction they give you very cool things to do. Very contradictory things internally that are good.
-The fact of playing this character for six years, and adding layers season after season, does it somehow resemble the way of working in theater?
-You already have a character base and you wait for the scenes to come, which are the ideas that are going to appear, which are new. And then you see what is going to happen to you or what you have to do. You already have an armed base physically, emotionally. A line of thought. For me it is super important. For me the camera, what television has as a language, is that they make you a close-up and if there is no thought of the actor, nothing happens. As much as you're crying or doing everything. In the case of theater, you repeat something that you already know you have to do, and that grows with each performance, but in this case you don't repeat, but rather do something new all the time. It gives you the chance to try new things.
“As much as Gladys has all this imprint, and she is a girl who if she has to shoot you she will shoot you, she is a woman”
-When did you feel that the character was hitting?
-In the first season there was something that began to happen to me with people. With colleagues who contacted me and congratulated me and then something started to happen with people on the street. The series is so popular, and so massive, that something began to happen. As the seasons go by, and as I have more scenes and more impact on the story, something else begins to happen.
-I remember how you enjoyed one of your first rowdy scenes when you rushed the psychologist at the prison door...
-It was the iconic scene that remained of Gladys, and everyone talked to me about that scene. Then when the sex one came, it was that one. And a favorite is always added. But from then on, I was able to unfold the character a little more: a girl who gets the guy to continue serving Diosito, it's not that she does it and stays there.
-How do you analyze the fury aroused by these lovable "bad" characters? Why do they generate so much identification?
-It is a question that should be asked to a sociologist. I think it is a series that crosses all social classes, fields, professions. I think there is a degree of violence that we all have inside, some develop it and others don't, and there is something of that identification that appears. The messages they send me are 'what a good thing you did to the kid' as if celebrating a crime. I don't know what's going on. I think they put in a fiction what they would like to do and that perhaps they don't do and it's okay that they don't do it because the truth is that what Gladys does is not good.
"Diosito" Borges (Furtado) and Gladys, in a scene from the third season of "El Marginal" / Netflix
-With the fifth and supposedly final season already recorded, what will it be like to say goodbye to this character?
-I did not think. It's very weird. Since the fifth is saved, I feel a little enjoyment. And I don't know what's going to happen to me. For now I enjoy the fourth, which we just appeared and there were already 40 million views in less than a week. It's a delusion. And I feel it on the street too. Yesterday I took my daughter (Amanda, 5 years old) to the square and the people, with a mask and everything, recognize me. There is one thing that is exploited. I don't want to think about her firing me. I want to continue enjoying the moment. And see if they open some doors with the arrival in so many places in fiction.
-Amanda, have you seen anything of your character?
-The other day we hooked her up with my husband singing the previous song from “El Marginal”, the one by Sara Hebe. We don't know where he got it from. She knows that I am an actress, I have taken her to the theater before the pandemic, but she does not ask me to see it and luckily! because I can't show you almost anything.
- What does your husband say? Do you get anything from Gladys in your house?
-She makes me laugh because I have a tone to speak loudly, and then whatever I say, she thinks I'm angry. But we are very used to her appearing here or on the street. We laugh at the situation. The co-workers carry it.
-Do they tell her to take care of La Gladys?
-Yes. But luckily we are very different (laughs).
