The promoter of testimonial television capable of portraying Peru through “Rare taxi driver”, “Mil oficios”, “Así es la vida” and “Al fondo hay sitio” wants to replicate his power on the big screen.
Before being the notable producer of 78 years, Efrain Aguilar Pardave He was the child soccer player, the narrator of gloomy jokes in late-night conversations, the reader of “Thumbnail”, the line guard for the acquisition of coal, the nut cleaner, the greengrocer, the neighborhood skillful – from the alley with a single pipe — who got up at 5.30 am to inaugurate the shower. He was also, for three years, the fourth and fifth grade teacher at 3047 La Balanza, in Comas. Here he gathered talent and sowed perspective: “I formed a theater group. We campaigned with them (the students) and we took it to all the schools”.
Efraín Aguilar: from blackboards to curtains
He gave up the classroom because “it was impossible to combine teaching in the State with theatrical activity.” And despite the fact that she had found comfort in the democratic relationship —because that is how she cemented it— between educator and student, she prioritized the tables: “I left them with great sadness, but artistic activity attracted me more.”
He was also attracted by a justice without anger, rather with sarcasm: he was already at the Leguía theater when he took with him the minutes of all the students because the school owed him their salary. “The parents protested, but they went with the check later. I handed over the minutes.”
Resolving with cunning helped him for his role as a stagehand —“with my hammer and my saw”, recalls the also called ‘Betito’— in the times when Pepe Vilar It was his boss, the acclaimed theater producer of the 60s, 70s and 80s. “Pepe Vilar did not exploit you.” To his salary of 11 dollars —in international currency because the tour was international currency—, Efraín could add a dollar each time he entered as an extra, played a leading role or maneuvered the shell of the prompter. He earned, thus, up to 21 dollars.
The theater in Nicaragua, an unfinished phase
In addition to Pepe Vilar, the Somozas, the dictatorial family of Nicaragua, highlighted his multidisciplinary spirit. The daughter of the then president Anastasio Somozaand to whom Efraín corrected the “usted” for “tú” —”Efraín my name is, not ‘señor Aguilar'”—, he proposed to work at the Rubén Darío theater.
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