La Nueva Ola - Hispanic Organization of Latin Actors

La Nueva Ola - Hispanic Organization of Latin Actors

La Nueva Ola
Published by ¡HOLA!, the Hispanic Organization of Latin A c t o r s
107 Suffolk Street, Suite 302, New York, NY 10002-3305 • (212) 253-1015; Fax: (212) 253-9651
h o l a g r a m @ h e l l o h o l a . o r g • w w w. h e l l o h o l a . o r g • A.B. Lugo, Manny Alfaro, Blanca Vásquez, Editors
Fall/Winter 2006/2007
Vol. IX, No. IX
La Nueva Ola is published by the Hispanic Organization of Latin Actors (HOLA) and made possible, in part, by funds from the New York State Council on the Arts; The City of New York Department of Cultural Affairs;
Association of Hispanic Arts; Continental Airlines; HBO Latino; Avon Products; Anheuser-Busch; Telemundo 47; NBC; private donations and the dues-paying members of HOLA.
¡HOLA!-Hispanic Organization of Latin Actors
107 Suffolk Street, Suite 302
New York, NY 10002-3305
NON PROFIT ORG.
US POSTAGE PAID
NEW YORK, NY
PERMIT NO. 7743
Address Correction Requested
Dated Material
In This Issue:
Spreading the Word of HOLA
2
HOLA Membership Meeting Report
2
Playing a Stereotype vs. Paying the Rent
3
Actors’ Work Program
4
2006 HOLA Awards Report
7
Plus New and Returning
Members List and Bochinche!!
Encontrará los artículos en español
después de la página 9.
S p reading t h e Word ab o u t H OL A
Saturday, October 14, 2006. The air is breezy and cool after having unusually mild weather a few weeks earlier. My day began at
9am in the middle of Times Square at the Marriott Marquis Hotel.
I arrived at ActorFest (a marketing event sponsored by Backstage)
with less than an hour to register and hit some booths for actor
research and HOLA publicity. Little did I know it would take me
so long to get in to the place just to walk around a bunch of soliciting folks squealing to come to their table.
"Free trial class!" "Sign up for our mailing list." In the back of my
mind I thought, where's the girl that looks like me, where's our
representation, meaning HOLA? I guess we missed the boat. I ask
myself, How can I promote HOLA? Luckily for me, I had two
opportunities to do so later that day.
I left ActorFest soon thereafter, because I had to be at another
event by noon. That event was the Fourth Arts Block Mini
Festival of Local Arts, our next destination for the day. So I met
my worthy and trusty partner A.B. Lugo at the HOLA office and
in the span of an hour we managed to create signs for a bulletin
board, pack up a few items and load HOLA member Ernesto
López’s car, who was volunteering his Saturday to be with us. We
were soon joined by HOLA member-volunteers Inma Heredia
and Mike Smith Rivera. As soon as we arrived at the silent block
of tables and people setting up, we decorated our table with a
stool, microphone, speaker and music (all compliments of
Ernesto) and began our promo work. Inma got coffee and something good to eat so we could stay warm while Mike read from a
script getting people off the street with “Wanna be in a play?”
Throughout the rest of the afternoon, A.B., Inma, Ernesto and I
stopped strangers to do exactly what my morning friends did to me
to entice me with their marketing ploy. I loved doing this!
Especially here, in the neighborhood where I grew up, where
Hispanics were the driving force in the 1980s. All around, I could
see what community was all about: we shared the event with a
number of neighborhood organizations like Teatro IATI, Teatro
Círculo, La Mama ETC, New York Theatre Workshop, New York
Shakespeare Festival, among many others.
From top to bottom: HOLA’s
own Blanca Vásquez and
HOLA volunteer Inma
Heredia (photo by A.B.
Lugo); HOLA staff member
A.B. Lugo poses with
Manhattan
Borough
President Scott Stringer at
the Fourth Arts Block Mini
Festival (photo by Blanca
Vásquez); Vásquez and
Lugo at Jazz @ Lincoln
Center in Columbus Circle
(photo by José Esquea).
H O L A A n n ual M e m b er sh i p M e e tin g
Before we knew it, it was time to pack up and go publicize our literature at a warmer and more intimate space. We were one of the
first to arrive at Jazz at Lincoln Center in Columbus Circle for a
Hispanic Heritage Month event sponsored by the revitalized
Association of Hispanic Arts (AHA). The event was a fair of
Latino organizations highlighted by performances by Latin jazz
greats Arturo O’Farrill and Bebo Valdés on the mainstage and a
concert in the lobby during intermission by Ilu Aye, an AfroCaribbean ensemble.
From left to right: AFTRA New York Local President Roberta
Reardon, SAG New York Branch President Paul Christie, SAG
Associate National Director of Affirmative Action Adam Moore,
HOLAExecutive Director Manny Alfaro, HOLAStaff Member A.B.
Lugo and HOLA Board Member Jack Landrón talk shop on
HOLA’s Annual Membership Meeting which took place on June 19,
2006 at Repertorio Español. The meeting highlighted HOLA and
SAG/AFTRA concerns. Photo by Martín Chávez.
Special thanks go out to Adam Moore, Ryan Gilliam, Julia
Gutiérrez Rivera, Nicholas Arture and of course, our volunteers,
especially Ernesto and Inma, for all their help with spreading the
word about HOLA. The more we can promote
HOLA, the stronger we can become, both as an
organization and as a community.
…Blanca Vásquez
2
P lay i n g a S t ereotype vs. Paying t h e Re n t
I recently attended a CBS workshop for Latinos. The organizer of the event, The National Hispanic Media
Coalition, were not only dedicated to us, but extremely professional, kind and open to the information and
to our concerns as Latino actors. They made this seminar possible, accessible to us, not only for free, but
guaranteeing special attention from the speakers.
I left the workshop feeling stronger, and above all, the need to work even harder now, for a possibility of
change in the future. I felt the need to express myself and explain the fact that I fully understand the stereotypes of an actor but what I have an issue with, is the constant negative ones.
This workshop made clear to me that if I want to be a "working actress," I must surrender, acknowledge and
embrace these stereotypes. Yes, I am aware a black Latino will NOT be cast as the farm owner in Ohio. Yes,
I am aware that the dark-skinned Dominican will not be cast as the lawyer or perhaps a judge in most episodic shows running right now. But I ask you: Did we not question the fact that Bill Cosby played a successful doctor and his wife a successful lawyer more than 20 years ago? No. We do not question today
the fact that the top surgeons on ABC’s “Grey’s Anatomy” are African American. We accepted it because IT
IS possible to have a head surgeon be a minority; and even if it's completely unheard of, a great actor can
make his audience believe it. The first actor to be cast on A B C ’s “Lost” is of Chilean descent! That
detail we do not need to know because, simply, he gets the job done and he plays a character, not a “Latino.”
Megahit shows such as HBO’s “Sex and the City,” NBC’s “Friends” and Fox’s “Beverly Hills 90210”
showed few representations of the so-called “minorities,” and I am NOT saying they all have to have a rainbow of ethnicities, but to close the opportunity of work and portrayal based on an ethnic background should
be unheard of, ridiculous and simply unacceptable.
Hi sp a n i c O rg a n iza t io n o f
L a ti n Act o rs ( H O L A)
107 Suffolk Street, Suite 302
New York, NY 1 0 0 0 2 - 3 3 0 5
(212) 253-1015 o f f i c e
( 2 1 2 ) 253-9651 f a x
e-mail: h o l a g r a m @ h e l l o h o l a . o rg
website: w w w. h e l l o h o l a . o rg
Board of Directors
Gonzalo Armendáriz, Chair;
Manny Alfaro, Executive Director;
Willie C. Boston, Secretary;
Juan H. Pujol, Treasurer;
Elaine F. Brodey; Manolo García-Oliva;
Jack Landrón; Adam Moore;
Herbert H. Raab
Advisory Board
Leon Goodman; Merel P. Juliá; Tere Martínez;
Manuel A. Morán Martínez, Ph.D.;
Rolando Pérez; Alan J. Rich, Esq.;
Edgardo Rivera; Elsie C. Stark;
Rebecca Vásquez
Honorary Board
Carlos Carrasco; Wendy Curiel;
Elisa de la Roche, Ph.D.;
Edouard de Soto; Francisco G. Rivela
There is a very thin line between what we can use in terms of our looks, personality and the so called “stereotype.” It comes down to a simple question: Are we hurting our image, ourselves, our future work? Are we
contributing to a cycle that is, indeed, extremely ignorant. Why not take that dark, strong Puerto Rican and
make him a teacher, a policeman, as opposed to ALWAYS the crack dealer? I can't play a girl from
Georgia, right? But wait, didn't Texas-born Renée Zellweger play the British character Bridget
Jones? If I have the physical qualities, the speech qualities and the acting qualities, why can't I?
Founders
Jorge Alvarado, Edwin Ávila, Eduardo Corbé,
Miriam Cruz, Lourdes Ferré, Armando García,
Roberto López, Andrés Nóbregas, Manuel
Martínez, Ilka Tanya Payán, Elizabeth Peña,
Rubén Rabasa, Larry Ramos, Jorge Ros,
Margarita Toirac, David Zúñiga
My acting teacher made me play an English girl from 1050s Manchester, England. Everyone was talking
about the English girl, as in “You mean that great girl from England.” Well that girl from England happened
to be from San Juan, Puerto Rico. Happens to know her “real” limitations; and THAT is the first step as an
actor indeed. But play the game the way YOU want to play it. Because there are too many people out there
willing to sell a piece of who they are, for a piece of that "next door" opening; which never comes to life.
My acting teacher also told me, “There is nothing wrong with playing a prostitute, just don't ever play
Prostitute Number One or Number Two. Play at least one with a name or a purpose in the story.”
HOLA Staff
Manuel Herrera, Special Projects Director
A.B. Lugo, Member Relations and
Publications Editor
Noemí de la Puente, Membership Outreach
Blanca Vásquez, Intern and Volunteer
Coordinator
I am aware that this is a business and a very lucrative one. I do understand the nature of the speaker when
she "taught" us about episodic casting. I just wanted to be realistic in terms of OUR opportunities. There is
a difference between stereotypes and roles in which we fit the part, famous or not.
Gael García Bernal once said, “I do not need six houses,” and therefore does not compromises his work. Yes
I know, most of us just aim to pay the rent. But realistically, what are our options? Does it come down to
just giving up? If we all follow the same “strategy,” if we all give in to the illusion that our paths will only
be open once you follow the “basic” steps of a working actor, it becomes, in reality, a race with no winners.
How do we approach this challenge, this goal, to be a working actor? Be clear, swim against the current. Learn how to utilize the information to reach your goal, to see more of ourselves in the small and
big screens. But do we sell just a little bit of our souls to get there? We all have in one way, shape or
form. For me, it would be just as frustrating to be an out-of-work actor, as it would to be an actor working nonstop as the Latina negative stereotype (choose one).
I might not “make it.” I might not tell the stories I feel and wish to tell. I am aware it is not up to me
to complete a good work but to a conjunto as Luis Buñuel once said. But IT IS up to me to differentiate between work and a meaningless character. It does not have to be a deep one, but it should be my
choice and based on my talent, as opposed to someone who is completely alienated to what I am, and
tells me constantly WHO I am. I have nothing to lose, but hey, I can't forget I have everything to win.
We tend to forget the richness of who we are. We tend to deny the fact that being an actor means
becoming and embracing other lives. We give value to the invaluable. Our weight as actors should not
be measured by our background or our last name but simply by our talent. The only limitation should
be that too many of us are extremely talented. Let us audition then, let us act!
Choose well, be realistic, and never, ever stop fighting. Above all, BE POSITIVE. THAT,
mi hermano y hermana, will open the next "powerful" door. Good Luck!
...Nicole Betancourt
3
Did y o u kn o w ?
Blanca V á s q u e z is our newest
employee here at HOLA, or
gatita, as we call her. Our
new Intern and Volunteer
Coordinator has also written
her first articles for La Nueva
Ola and they can be found on
pages 2 and 7 of this newsletter, respectively.
Nicole Betancourt is an HOLA
member. Her opinions are not
necessarily those of HOLA and
its management.
Admissions for La Nueva Ola
HOLA members are free to contribute to La Nueva Ola. Note
that admissions may be edited
down for space and content. Not
all admissions may be used in La
Nueva Ola. For more information, call the HOLA o ffice at
(212) 253-1015 or e-mail us at
[email protected].
as a performer in three out of the last five years, you
a re considered a member of the entertainment industry
Every Monday, from 12 to 2:30pm, in a modest office build- p rofessional community and can use these pro g r a m s.
ing on Seventh Avenue, about 20 actors will drag their feet
into a windowless conference room, silence their cell By the way, HOLA has some pamphlets from the A c t o r s ’
phones, and wait to listen to what may be the answer to the Work Program available in the office. Say hi to Patch for
p r a y e r, “How do I make the rent this month?” They wait me if you see her. Some of the programs the AW P o ffer are
g l o o m i l y, and then an outgoing, friendly woman named b e l o w.
Patricia Schwadro n, Career Counselor Supervisor of the
EMPLOYMENT OPPORTUNITIES
A c t o r s ’ Work Pro g r a m ( AWP) of The A c t o r s ’ Fund of
A m e r i c a, lights up the room by asking everybody to briefly Sideline job: This work offers predictable, ideally perdescribe why they are here, and what they hope to achieve manent employment, but allows freedom and flexibility
from AW P. The mood in the room lifts as each individual is to pursue your artistic work. Generally, you need to
allowed to share what can be very hard for a performer to develop skills for sideline work, to command a pay rate
share: that things are not “great” or “fine,” that things actu- that meets your financial needs. The content of the
ally “suck” these days, and it’s getting harder to pay the work is less important than the flexibility.
rent, or live on the road, that waiting tables is now intolerable, and other litanies that non-performers might not P ar al le l C a re e r: C o n du c ti n g t wo d ist i nc t, e q ua ll y
i mp o rt an t oc cu p at io n s si mu l tan e o usl y to d iv ersi fy
understand.
income, and satisfy different interests.
The Actors’ Work Program
And then Patch (Patricia’s nickname) cheerily summarizes
the many different facets of AW P and how one can take
advantage of them. The first step is always the orientation,
which makes sense since AW P handles everything from
“help me get a job now before my landlord sees me again”
to “I want to go back to school and get my degree.”
Second Care e r: Building a future career, which will
become as important and as intense as the person’s first
c a r e e r, and possibly replace it entirely.
NETWORKING SESSIONS
Sessions where you can ask questions and share your
knowledge regarding entertainment industry work, as well
AW P o ffers computer classes, job searches, networking, as sideline, non industry work. Especially recommended
resume building, and career counseling sessions. Current for those who are searching for immediate work.
programs include Teaching Careers (including English as a Every Monday from 2:30–4:30pm.
Second Language), Arts in Education, Small Business and
Entrepreneurship, Returning to School and Jobs in the
JOB SEAR CH AND INTERVIEW SKILLS
Tourism Industry. AW P also offers tuition grants and access Support, job leads, and referrals to boost your job search skills.
Every Wednesday from 12–2:30pm.
to government job training funds.
The orientation also covers other resources of The A c t o r s ’
Fund including health insurance information for the uninsured and under-insured through the Health Insurance
Resource Center (www. a h i r c . o rg), the Al Hirschfeld Free
Health Clinic in New York, and the Phyllis Newman
Wo m e n ’s Health Initiative. Other A c t o r s ’ Fund workshops
and programs explore housing issues, living with HIV, and
money and the performing artist. You begin to see that the
A c t o r s ’ Fund is the huge safety net you didn’t think you had.
At the end of the orientation session you are given a counseling appointment to discuss your career plans and needs.
RESUME WRITING WORKSHOP
For people who are developing sideline or new careers,
and need a non-performing, business resume.
Every third and fourth Thursdays of the month, 12–2pm.
The Al Hirschfeld Free Health Clinic in New York also
administers free flu shots each winter, as available. T h e
clinic is located at the Aurora, 475 West 57th Street (off
10th Avenue) in the west side of Manhattan.
A c t o r s ’ Fund of A m e r i c a / A c t o r s ’ Work Pro g r a m
New York Office
729 Seventh Avenue, 11th Floor
New York, NY 1 0 0 1 9 - 6 8 3 1
(212) 921-4295
In exchange AW P asks very little, just document what work
you obtain from then on and send the info to the Program.
Members are invited to volunteer as well. Their volunteer
program is very flexible. Just show up, and work for them.
I don’t think they care if your English is great or not— as
long as you know the alphabet and can file, they’re willing
to work with you.
A c t o r s ’ Fund of A m e r i c a / A c t o r s ’ Work Pro g r a m
Los Angeles Off i c e
5757 Wilshire Blvd. Suite 400
L o s Angeles, CA 9 0 0 3 6 - 5 8 1 0
(323) 933-9244
We b s i t e : w w w. a c t o r s f u n d . o r g
The A c t o r s ’ Work Program and the Al Hirschfeld Free
Health Clinic are open to members of AEA, AFTRA, and Oh yeah, reading this article does not get
S A G among other entertainment industry unions. For our you out of having to take the orientation.
nonunion HOLA m e m b e r s, please note that if you can Tee hee.
...Noemí de la Puente
document that you have earned $6,500 or m o re per y e a r
4
Antonio Zancada at the Duke on 42nd Street theater in the theater
B o c h i n c h e . . . Spanish for gossip.
district in midtown Manhattan. Directed by Alfredo Galván and
In this column– nice gossip, good gossip. with choreography by Silvia Sierra, the cast included Bill
Blechingberg, Beatriz Córdoba, Iva Gocheva, Puy Navarro,
Denise Quiñones, Francisco Reyes and Monica Steuer.
It’s always great to start the Bochinche
column with some good news. HOLA members
Manny Siverio and Addie Díaz are the proud parents of a son. Damián Manuel Siverio Díaz was born
on November 16, 2006 at 7:55pm at 19 inches long
and an impressive 8lbs. 1 oz. It is her second child and his first.
At press time, Mom, dad, baby Damián and big brother Devin
Flores are all doing fine and we at HOLA wish them all the best.
Ruth Otero e-mailed us to let us know that she booked a national commercial for Dial soap.
Phoenix Ximénez e-mailed us to say that she booked a
voiceover through an HOLA referral. She also performed in War Songs, for the Bucks County-based
Bristol Riverside Theatre in Bristol, Pennsylvania. In
César De León, Débora Balardini and Omar Pérez acted in the addition, she booked work on “One Life to Live” (ABC).
short film Evergreen. The actors were cast as a result of the
HOLA Pages online directory. De León followed this up with Gilbert Cruz e-mailed us to say that he nabbed a role in the
directing his second film. Entitled Broken Hearts, the short Quiara Alegría Hudes play Elliot: A Soldier’s Fugue. The prostarred De León, Omar Pérez and Cortés (see below).
duction, directed by Kent Gash, took place at the Alliance
Theatre’s Hertz Stage in Atlanta, Georgia.
Cortés, has had a very busy couple of months and has been racking up a number of credits. Some of them include roles on “Law The Latin American Theatre Ensemble/El Portón (LATE) present& Order” and “Law & Order: Special Victims Unit” (NBC); and ed La pequeña cabaña. Based on La otra cabaña by André
the films Broken Hearts (see above), American Gangster (direct- Roussin, the play was directed by Gloria Zelaya and was preed by Ridley Scott and opposite Russell Crowe and Denzel sented at the Julia de Burgos Cultural Center in Manhattan’s El
Washington) and 44 (written and directed by Miguel Avilés and Barrio neighborhood. The cast included Marisol Carre re,
opposite Annie Basulto, Avilés, Antonio Meneses Saillant and William Saquicela and Héctor Palacios.
Adriana Merida). If that wasn’t enough, he made an appearance
on the TLC television series “Miami Ink,” was the subject of an Due to popular demand, Teatro IATI and Pregones Theater revived
article in BackStage and performed all over New York City with their HOLA award-winning co-production, Blanco. Written by
the sketch comedy troupe Lose Control (see below). For more Pablo García Gámez and directed by Jorge B. Merced, the play
information on Cortés, go to the website www.jwcortes.com.
took place at Teatro IATI in Manhattan’s East Village and featured
Varín Ayala, Johary Ramos and Carlos Alberto Valencia.
Lose Control is a new urban Latino sketch comedy troupe founded and produced by André (Chulisi) Rodríguez and Vicky Ayala. Teresa Yenque acted in the Pedro Monge Rafuls-penned solo show
The sketch has had a number of shows in the NYC area, culmi- Pase adelante, si quiere. Directed by Monge Rafuls, the play was
nating in a season finale at the Broadway Comedy Club in the the- produced by Teatro Estudio Internacional at its Ilka Tanya Payán
atre distict of midtown Manhattan. Members of the troupe include Theater in the theater district of midtown Manhattan. She followed
Cortés and Nixzaliz Rojas. For more information, log on to up this triumph with a role in the Bil Va rgas play King of
www.officiallylosecontrol.com.
Dominoes. Dramaturged and directed by Michael J. Narváez, the
play was produced by Teatro LA TEA at its namesake theater in the
Michele Carlo (and her alter ego Carmen Mofongo) continue to CSV Cultural Center (home to HOLA) in the Loisaida section of
host the It Came from New York performance series at the Bowery Manhattan. In addtion to Yenque, the cast included Jason Flores,
Poetry Club in the NoHo section of Manhattan.
Indio Meléndez and Michael Philip Del Río.
Douglas Taurel e-mailed us to let us know that he was cast in the
feature film Forgotten Sundays, directed by Robert Luposki. and
shot in Greece.
David Sard’s play The Ballad of Eddie
and Jo was produced at the Hudson
Guild Theatre in the Chelsea neighborhood of Manhattan. A contemporary
“re-imagining” of the Oedipus-Jocasta
saga, the play was directed by Lorca
Peress and featured Michael Citriniti, Joyce Griffen, Stephen
Innocenzi, Jerry Rago, Angelo Rosso, Ana Mercedes Torres and
Anita Vélez-Mitchell in the cast. [Editor’s note: The director
found Torres and Vélez-Mitchell through an HOLA referral.]
Nicole Betancourt dropped us a line to let us know
that she booked a print ad thanks to the casting director spotting her headshot on the HOLA directory.
Mónica Yudovich’s play, Hermanas, premiered at the New York
International Fringe Festival this summer. Presented at the Classic
Stage Company in Manhattan’s East Village, the show was directed
by Claudia Zelevansky and featured Paolo Andino, Ryan Duncan LaMicro Theater presented Marcos Barbosa’s play At the Table at
(the original Juan in the musical Altar Boyz), Adriana Gaviria, the Where Eagles Dare Theater in midtown Manhattan. Directed
Kathryn Kates, Bridget Moloney, Denise Quiñones and Yudovich. by Pietro González and translated by Mark O’Thomas, the cast
featured Michael Cunningham, Winston Estévez, Luis Galli,
The Immediate Theatre Company presented Zanahorias, a play by Nandan Sanchoo, Jacob Seelbach and Kevin J. Wagner.
5
Luis López booked a lead role in the “The Heiress,” a new TV booked a Ford industrial and a couple of MTV promos. This folseries on MyNetwork TV.
lowed his acting in and Sam Shepard’s plays Seduced and 4-H
Club, produced by the Michael Chekhov Theatre Company at the
Rosa Niño booked a role on the movie The Nanny Diaries starring Big Little Theatre in the Loisaida section of Manhattan.
Scarlet Johansson, Laura Linney, Paul Giamatti, Donna Murphy
and Alicia Keys.
Nathalie Tolentino acted in the short film The Guerrillas (directed by Russ Davies) and can also seen on a Tropical Cheese comPlinio Villabalanca shot a New York State Health
mercial airing on the Univisión network.
Insurance commercial and a role in the independent
film The Liberty Kid after the respective casting
Sandie Luna appeared in the hit David Lamb play Plátano and
directors spotted his headshot on the HOLA Pages
Collard Greens. Directed by Summer Hill Seven, the production
online directory.
took place at the Tribeca Performing Arts Center in (natch)
Manhattan’s Tribeca neighborhood.
Danisarte presented their latest Los nuevos valores/The New
Treasures festival. Presented at the Julia de Burgos Cultural Teatro Tocando Puertas presented the Luis La Roca comedy Mi
Center in Manhattan’s El Barrio’s neighborhood, the productions hijo es gay at the Red Carpet Theatre in Manhattan’s El Barrio
included La cucarachita Martina y el Ratoncito Pérez and Los neighborhood. Directed by Cecill Vi l l a r, the play featured
hijos de la vecina (both adapted and directed by Alicia Kaplan); Antonio Bones, David Duverge, Edison Carrera, Franco Galecio,
El conejo mentiroso (written and directed by Juan Guzmán); Un Rita Ortiz and Villar in the cast.
encuentro fugaz (written by Sonia Suárez Schwartz and directed
by Kaplan); and Detrás del trapecio (written by Juan Guzmán and
Alfonso Ramírez, left, booked a pharmaceuutical
directed by Gloria Zelaya). Actors in the festival included
print ad due to an HOLA referral.
Claudio Alberio, Fabián González, Ricardo J. Salazar, Rafael
Luis Robles, Cristina San Juan, Ángel Premier Solís and Liana
The Bronx Academy of Arts and Dance (BAAD!) preVelázquez.
sented their annual holiday production, Charles RiceGonzález’s Los Nutcrackers: A Christmas Carajo at its eponymous
Quantum
Theatre,
based
in P i t t s b u rg h , theater in the Hunts Point section of the South Bronx. Directed by
Pennsylvania, presented Octavio Solís’ play El Paso George Zavala, the cast included Johnathan Cedano, Rafael
Blue at the 55th Street Playhouse in Pittsburgh’s Fuentes, Gabriel Morales, Roberto
Lawrenceville neighborhood. Directed by Karla Larancuent and Orlando Ríos. [Editor’s
Boos, the cast included Timothy Andrés Pabón, John note: Fuentes and Ríos, r i g h t, were
Marcinizyn, Tami Dixon, Ruth Gamble, Jeff r e y called in for auditions and eventually cast
Carpenter and Fermín Suárez in the cast. [Editor’s note: Suárez after the director and playwright found
was found by the director on the HOLA Pages directory.]
their respective headshots on the HOLA
Pages online directory.]
Alberto Vázquez and Oscar A. Colón booked a print ad for the
New York City Department of Health and Mental Hygiene for Orlando Ríos (see above) also booked the title role in Ricardo
their influenza vaccine campaign.
Bracho’s play Sissy thanks to an HOLA referral. Produced by
Pregones Theater in their eponymous theater in the Mott Haven
Theatre of (No)Thing presented Out the Flesh, a work created and section of the south Bronx and directed by Jorge B. Merced, the
performed by Raquel Rivela and Kaneza Schaal. The show took play also featured Sol Marina Crespo, Johary Ramos, Varín
place at the Theatre of (No)Thing’s space in Manhattan’s SoHo Ayala, Rosal Colón, Sherise Pruitt, Baraka de Soleil and Edwin
district.
Ramoran.
Duo Theatre presented The Marilyn Project at its namesake theater in the East Village neighborhood of Manhattan. The new
musical, written and directed by Michelangelo Alasá, featured
Stephanie Bentley, Brenda Bush, G regory Purnhagen, Luke
Valerio and Reet Roos Varnik.
Manny Alfaro and Mauricio Leyton appeared in
the Immigrants’ Theatre Project production of Sabina
Berman’s Heresy (directed by Marcy Arlin) at the
HERE Arts Center in the SoHo section of Manhattan.
[Editor’s note: Leyton was cast through an HOLA
referral.]
Ángel García Clemente performed in and choreographed The
Tango Interlude, an Edith Shapiro production which took place at Manuel A. Morán and Cassandra
Wings Theatre in Manhattan’s West Village and Natives Theatre Espitia booked featured roles in the film
in the Jackson Heights section of Queens.
The Tourist (directed by Marcel
Langenegger and starring Ewan
Linda Blanco called us to let us know that she
M c G r e g o r, Hugh Jackman, Michelle
booked a commercial and a print job for a pharmaWilliams, Maggie Q and Lisa Gay Hamilton) through HOLA
ceutical company due to casting directors spotting
referrals.
her headshot in the HOLA Pages.
Mike Smith Rivera e-mailed HOLA to say he
Bochinche continued on back page
6
2006 HOLA Awards Report
2 0 0 6 H OL A A W A R D S
If you missed this year's HOLAAwards, you missed the hottest show of
the year! Not only did we have a different location in the very lovely
Langston Hughes Auditorium at the Schomburg Center for Research in
Black Culture (named after Afro-boricua historian Arturo Alfonso
Schomburg), but we had the mellifluous voice of Blanca Camacho as
the announcer, the unbeatable likings of Jorge Ramos and Odalys
Molina as well as a live band headed by Desmar Guevara.
L I S T OF A W A R D E E S
HOLA Ilka Award: Danny Rivera
HOLA José Ferrer Tespis Award: Kamar de los Reyes
HOLA Raúl Juliá Founders Award: Miguel Algarín
HOLA Excellence in English Language Media Award: Soledad O’Brien
HOLA Excellence in Spanish Language Media Award: Jorge Ramos
Male Actor: Ricardo Barber (El Quijote) Repertorio Español; Iván
Camilo (Don Quijote: su última aventura) Puerto Rican Traveling
Theatre; Pedro de Llano (La importancia de llamarse Blanca) Latin
American Theatre Ensemble/El Portón del Barrio.
Female Actor: Aminta de Lara (La importancia de llamarse Blanca)
Latin American Theatre Ensemble/El Portón del Barrio; M a rt a
Julián (Defensa de dama), Retablo Hispanic Theatre; Eva Cristina
Vásquez (Un Quijote en Nueva York) Teatro IATI/Teatro Círculo.
Featured Male A c t o r: George Bass (Defensa de dama) Retablo
Hispanic Theatre; Mateo Gómez (Elliot: A Soldier’s F u g u e) Page 73
Productions/45 Bleecker Theatre; Fermín Suárez (Defensa de dama)
Retablo Hispanic Theatre; Fernando Then (La importancia de lla marse Blanca) Latin American Theatre Ensemble/El Portón del Barrio.
Featured Female Actor: Jessica Florí (Lorca Federico Lorca) Teatro
Círculo; Ana Margarita Martínez-Casado (Doña Rosita la soltera)
Repertorio Español; Tanzina Vega (3x2+2) Teatro Experimental
Blue Amigos.
Solo Performance: Roy Arias (Sex on the Beach) Teatro Estudio
Internacional; Marga Gómez (Los Big Names) Puerto Rican
Traveling Theatre/Jonathan Reinis/Cesa Entertainment.
Ensemble: Denia Brache, María Cellario, Maya Parra, Dania
R a m o s, Katherine Riley, Nancy Rodríguez, Monica Steuer, Teresa
Yenque (The Last of Bernard a) Puerto Rican Traveling Theatre
Professional Playwrights Unit; Emanuel Loarca, J o h a ry Ramos,
Carlos A l b e rto Valencia (B l a n c o) Pregones Theater/Teatro IATI.
Direction: René Buch (Doña Rosita la soltera) Repertorio Español;
Jorge B. Merced (Blanco) Pregones Theater/Teatro IATI; Rosalba
Rolón (La rosa roja/The Red Rose) Pregones Theater.
Playwriting: Oscar A. Colón (The Last of Bernarda) Puerto Rican
Traveling Theatre Professional Playwrights Unit; Pablo García
Gámez (Blanco) Pregones Theater/Teatro IATI.
Technical Production: Arthur Avilés (la rosa roja/The Red Rose)
Pregones Theater; Regina García (Blanco) Pregones Theater/Teatro
IATI; Jason Sturm (Lorca Federico Lorca) Teatro Círculo.
Musical Production: La rosa roja/The Red Rose Pregones Theater;
Tango Flamenco Fusion Thalía Spanish Theatre.
Dramatic Production: Blanco Pregones Theater/Teatro IATI; Doña
Rosita la soltera Repertorio Español; El Quijote Repertorio Español;
La importancia de llamarse Blanca Latin American Theatre
Ensemble/El Portón del Barrio.
Special Recognition: Desmar Guevara (La rosa roja/The Red Rose)
Pregones Theater; Danny Rivera (La rosa roja/The Red Rose)
Pregones Theater.
Everything at the HOLA Awards ceremony was new and fresh to celebrate not only the freshness and celebration of our 30+ years in existence, the new HOLA members, new staff members, new board members but also the continued achievements of its casting directors, agents
and HOLA supporters!
This year's ceremony reflected on a sea of beautiful people that thoroughly enjoyed the food (provided by Salsa Caterers) and drink (Casa
de Vinos/Luis Vázquez).
And the winner is… Danny Rivera, for his wonderful contribution to
Pregones Theater in La rosa roja/The Red Rose. Along with Danny we
had many of our HOLA members who continually do an extraordinary
job in their theaters to continue the tradition of Latino theater and letting
us know that they are fighting for their latinidad in the big screen, small
screen and stage.
The evening was like no other. On this particularly beautiful autumn day,
we had very mild weather; it felt like a hot summer night in the city. Even
though we didn't have a red carpet we had a celebrity of proud Latino people getting together to celebrate their achievements in TV, film, and theater.
It seems like each year we have something new and exciting to be thrilled
about. The amazing part is that the making of the HOLAAwards begins
long before the actual day and a number of really great people are responsible and have made a difference so that every last detail is complete.
This year we had the awards ceremony written and directed by Jack
Landrón, who, with the help of HOLA staff and volunteers, made sure the
show ran smoothly. The set design was created by Manuel A. Morán of
SEA. The ceremony was stage managed by José Esquea and filmed by
Rafael Merino Cortés of NY Latino Journal and the DVD of the event is
available for sale (see the back page of this newsletter for more information).
[Editor’s note: A list of HOLA Awardees follows this article.]
There were so many highlights. From Soledad O’Brien’s loving tribute to
her parents and her multiracial upbringing to Jorge Ramos reading purposefully stilted language from his script, not realizing he is setting up the
surprise award that he was about to receive to funny and poignant speeches by Kamar de los Reyes, Arthur Avilés, Jessica Florí, Iván Camilo,
Margarita Toirac and others, it was a night to remember.
The performance by Elise Hernández and Danny Rivera (from La rosa
roja/The Red Rose), which closed out the show, brought chills to the spine
and goosebumps to the skin. It was a fitting end to an exciting, dynamic
evening that makes me excited to see what HOLAis going to do next year.
...Blanca Vásquez
(with additional reporting by A.B. Lugo)
Photo credits (right, clockwise from top left): HOLA Board Member and presenter Manolo García Oliva and HOLA Awardee/Emcee Jorge Ramos;
HOLAAwardee Danny Rivera and HOLA Executive Director Manny Alfaro;
HOLA Awardee Arthur Avilés snaps a photo of the crowd from ths stage;
Manuel A. Morán, HOLA Awardee Rosalba Rolón, HOLA Board Member
Jack Landrón, Elise Hernández and Nelson Landrieu. All photos by
Benjamín Briu. For more photos, g o t o ww w. he ll ohola.org.
7
Bochinche continued from page 6
Wel come New and
Josh Segarra nabbed roles in the films Tiny Dancer (written and
directed by Eva Husson) opposite Jsu García and Melissa Gallo and
The Ministers (directed by Franc. Reyes) opposite John Leguizamo.
Returni ng Members
June 1, 2006-December 31, 2006
Moisés Acevedo, Claudio
Alberio, Angélica Álvarez, Flor
Angie, Jean-Marc Berne,
Sandra Cárdenas, Jennica
Carmona, Patricia Carreón,
Oscar J. Castillo, Angie Castro,
Vivian Cedeño, George Cerezo,
Ginger Leilani Chapin, Herman
Chaves, Alex Coelho, Raúl
Dedos, Sonia De Los Santos,
Michael Anthony Diesel,
Alexander Flens, Jonathan
Flórez, Diana Forero, Rafael
Fuentes, Mai Reina Gold,
Raymond Hernández, Elga
Lahoz, Antonio Melián, Zoa
Méndez, Marta Milans, A.J.
Nelson, Liza Nematnejad, Max
Norat, Ruthie Otero, Lorenzo
Parro, Orlando Ríos, Pedro
Serka, Mónica S a l a z a r, Chuy
Sánchez, Kareem Saviñón, Josh
Segarra, Fermín Suárez, Silvia
Tovar, Fabián Zarta.
Wings Theatre held its second annual 24 Hour Play Insanity festival in its eponymous theater in the West Village section of
Manhattan. The festival, in which five playwrights, five directors
and about fifteen actors meet. The playwrights and directors pick
out the number of actors per piece, four words to be in a tenminute play and who goes to which play by picking these things
out of a hat. The playwrights then go and write a short play based
on the above parameters and present them the next morning,
where the directors rehearse the actors to present the shows that
next evening, 24 hours after the first meeting. The plays were
written by Ed Valentine, David Bell, A.B. Lugo (see below), L.J.
Kleeman and Kathleen Warnock; directed by Peter Block, Tom
Wojtunik, Lugo, Mark Finley and Jeffery Corrick, respectively;
and featured Ryan Berit, Roberto Cambeiro, Wi l l Clark,
Desmond Dutcher, Jamie Heinlein, Aimee Howard, Nick
Mathews, Memo, Carol Nelson and Jym Winner.
A.B. Lugo (this writer) and Noemí de la Puente acted in the
Carolinian Shakespeare Festival production of William
Shakespeare’s Macbeth (directed by Mary McGinley) at the New
Bern Civic Theater in New Bern, North Carolina. While in the
Tar Heel State, Lugo and de la Puente (directed by McGinley and
Willie Sumner, respectively) also presented their self-penned solo
shows (Manchild Machismo and Fountain of Youth) at the nearby Bank of the Arts, also in New Bern. Lugo followed this up
with a role as the Pope in the Hudson Exploited Theater
Company production of Adrián Rodríguez’s play Boss (directed
by Arián Blanco). This production took place at the DeBaun
Auditorium in the Stevens Institute of Technology in Hoboken,
New Jersey. Finally, as a playwright, he took part in the second
annual Wings Theatre 24 Hour Play Insanity festival where he
wrote and directed a ten-minute play and hosted the evening. The
24 Hour Play Insanity Festival kicked off Beyond Christopher, a
production of one-acts by Lugo, David Pumo, Jonathan
Kronenberger and Mark Finley (directed by K. Lorrel Manning,
Antonio Merenda, Glen Schudel and Steven McElroy, respectively). Both the 24 Hour Play Insanity festival and Beyond
Christopher took place at Wings Theatre in the West Village section of Manhattan.
La Nueva Ola Newsletter Fall/Winter 2006/2007 Issue
Editors: A.B. Lugo, Manny
Alfaro, Blanca Vásquez.
Contributing Writers: A.B. Lugo,
Noemí de la Puente, Blanca
Vásquez, Nicole Betancourt.
Contributing Photographers: A.B.
Lugo (cover and page 2), Blanca
Vásquez (page 2), José Esquea
(page 2), Martín Chávez (cover
and page 2); Benjamín Briu (cover
and page 7); Arthur López (page
12). AFA logo courtesy of the
Actors’ Fund of America. Photo
of Damián Manuel Siverio Díaz
(page 5) by Damian Achilles.
Actors’ headshots courtesy of the
respective actor.
Referral Activity 06/2006-12/2006
Film & Television
Vertical Casting
Grant Wilfley Casting
Barbara McNamara Casting
James Calleri Casting
César De León
Judith Escalona/PR Dream
Clarisel González
School of Visual Arts
New York University
Columbia University
El Chivo Productions
Kicking Rocks Productions
Stolen Moments Productions
WNET Thirteen/PBS
Noruz Films
Ratana Productions
Iron Triangle Films
East River Films
Orpheus Casting
Commercials
30-Second Commercial
Dorothy Palmer
David Vaccari/Telsey + Company
Comunicando Productions
Theater
Pregones Theater
Society of the Educational Arts
HERE Arts Center
Summit Playhouse
Hostos Repertory Theater
Quantum Theatre
Arian Blanco
First Street Playhouse
Zanahorias Casting
Impact Theatre
In The Heights Casting
Honey Bow and the Gold Mine Casting
Times Square Art Center
Chelsea Opera
Kay Matschullat
Elmer Salmerón
Lorca Peress
DeBaun Performing Arts Center
NY Artists Unlimited
The Great Conjurer Casting
Industrials/Print
Expecting Models
Elaine Gordon Models
Chuck Waggoner
Paladino Casting
Jerzee Apparel
Delaware Division of Public Health
NYC Department of Health and Hygiene
National Abstinence Council
New Jersey Institute of Technology
Voiceover
Wendy Curiel
Stark Naked Productions
ABC TV News
Tanden Hayes
New York Audio Productions
Fairfield Language Technologies
Dorothy Palmer
Audioworks
Tabby Sound, Ltd.
Dream Weavers Management, Inc.
Hank Aberly
CKP Media
Burst Productions
615* HOLA Member Candidates Submitted
* (does not include talent contacted directly
via the HOLA Pages online dire c t o ry or
any self-submitted talent inquiries)
Did you miss the excitement, the drama and the
fun of the 2006 HOLA Awards?
That’s it for now.
Keep your postcards, faxes and e-mails coming.
When you’re working, it means we’re working.
...A.B. Lugo.
BUY THE DVD!!
Featuring appearances by
Kamar de los Reyes, Daphne Rubin-Ve g a, Oscar Hijuelos,
María Hinojosa and a thrilling performance by
Elise Hernández and Danny Rivera.
T O A L L H O L A ME MB E R S
Please advise the HOLA office whenever you get a call for an audi tion where the casting director received your information through
HOLA or the HOLA Pages online directory. Sometimes casting
directors go through the HOLA Pages directly and not contact us.
Contacting us helps us keep track of our progress. Help us help you.
Keep in touch with HOLA.
AVAILABLE IN LIMITED QUANTITIES FOR ONLY $25
(postage included).
Contact HOLA by phone at (212) 253-1015 or via e-mail at
[email protected] for more information.
8
untarios especialmente a Ernesto e Inma por ayudar propagar la información de HOLA. Lo más
que podemos propagar a HOLA, lo más fuerte
llegamos a ser, no solo como una organización sino
también como una comunidad artística.
...Escrita por Blanca Vásquez
Traducido by Ángel Premier Solís
Los siguientes articulos son traducciones del íngles al español de
los articulos escritos que aparecen anteriormente en este boletín.
P R O PAGANDO LAS FUNCIONES DE LA
ORGANIZACIÓN HOLA
[Spreading the Word About HOLA]
El sábado 14 de octubre del año 2006 fue ventoso y fresco en comparación a una temperatura apacible varias semanas antes. Mi día
empezó a las nueve de la mañana cuando llegué a Times Square al
Hotel Marriott Marquis donde se celebraba el festival de actores y
mercadeo ActorFest auspiciado por el periódico Backstage. Tenía
menos de una hora para registrarme y recoger los diferentes kioscos
informativos y a la vez propagar información sobre la organización
HOLA. Yo no me imaginaba el tiempo que me iba a tomar colocarme en turno debido al gentío de solicitantes brindando información sobre sus diferentes actividades. Por ejemplo: “Clases gratis”
e “Inscríbase en nuestra lista de correo.”
INTERPRETAR UN ESTEREOTIPO CONTRA
PAGAR EL ALQUILER
[Playing a Stereotype versus Paying the Rent]
Hace poco asistí a un taller de la cadena de televisión CBS para
latinos. Los organizadores del evento, la Coalición Hispánica
Nacional de Medios de Comunicación (NHMC, por sus siglas en
inglés), no sólo se dedicaron a nosotros sino que fueron
extremadamente profesionales, amables y abiertos a la información y a nuestras preocupaciones como actores latinos. Ellos
hicieron posible este seminario, accesible a nosotros, no sólo
gratis, sino además garantizando la atención especial de los
ponentes.
Mientras tanto yo me preguntaba-- ¿Dónde está la muchacha que se
parece a mí y dónde está nuestra representación de HOLA? Pensé
que iba a perder la oportunidad de propagar las funciones de nuestra organización pero no sucedió así porque luego tuve dos oportunidades de hacerlo.
Me marché del seminario sintiéndome más fuerte y, sobre todo,
sintiendo la necesidad de trabajar incluso más duro ahora, para
una posibilidad de cambio en el futuro. Sentí la necesidad de
expresarme y de explicar el hecho de que entiendo plenamente
los estereotipos del actor, pero lo que me cuestiono son los que
son negativos constantemente.
Terminé mi tarea en el evento y me dirigí a mi oficina para
prepararme para el siguiente evento en la tarde. Este festival se
llamaba The Fourth Arts Block Mini Festival of Local Arts. Me
encontré con el compañero A.B. Lugo en la oficina de HOLA
donde en una hora creamos rótulos para la tabla de anuncios.
También se nos unieron los compañeros Ernesto López (quien
vino con su auto), Inma Heredia y Mike Smith Rivera.
Inmediatamente que llegamos al evento decoramos nuestra mesa y
silla y colocamos el micrófono y el sistema de sonidos cortesía de
Ernesto. Inma trajo café y algo de comer para calentarnos mientras
Mike empezó a propagar la información preguntándole a la gente
si querían actuar en obras de teatro. Utilizamos las mismas tácticas
de mercadeo aprendidas en el evento de la mañana. Toda la tarde
parábamos a los extraños para darle información sobre HOLA. A
mí me encanto hacerlo porque estaba en el barrio donde me crié
(Loisaida en Manhattan) y donde en los 1980s los hispanos éramos
el grupo étnico representativo.
Pude ver como una comunidad se une y se valoriza utilizando tácticas de mercadeo. En el evento estaba los teatros IATI, Circulo, La
Mama ETC, New York Theatre Workshop, New York Shakespeare
Festival y otros grupos más. El tiempo se esfumo muy rápido y nos
fuimos con nuestra literatura a un lugar mas intimo y cálido.
Este taller me dejó claro que si quiero ser “una actriz que trabaja” debo rendirme, reconocer y abrazar estos estereotipos. Sí, me
doy cuenta de que a un latino negro no se le dará el papel de
propietario de una granja de Ohio en los EE.UU. Sí, me doy
cuenta de que al dominicano de piel oscura no se le dará el papel
del abogado o el juez en la mayoría de las series episódicas que
están en marcha ahora mismo. Pero les pregunto: ¿Acaso no
cuestionamos el hecho de que el actor afro-americano Bill
Cosby interpretara a un médico exitoso y su esposa a una
abogada exitosa hace más de 20 años? No. Hoy día no nos
cuestionamos el hecho de que los cirujanos más importantes del
programa “Grey’s Anatomy” de la ABC sean afro-americanos.
Lo aceptamos porque ES posible tener a un cirujano jefe que sea
de una minoría, e incluso si nunca se ha oído hablar de ello, un
gran actor puede hacer que el público lo crea. ¡El primer actor
que obtuvo un papel en “Lost” de la cadena ABC es descendiente de chilenos! No necesitamos conocer ese detalle porque
simplemente hace su trabajo e interpreta un personaje, no un
“latino.”
Fuimos los primeros en llegar al Jazz at Lincoln Center celebrando
el Mes de la Herencia Hispana auspiciado por la Asociación de
Artes Hispanos (¡AHA! por sus siglos en inglés). Participaban
varias organizaciones hispanas pero el evento principal fue la presentación de Arturo O’Farrill y Bebo Valdés con un concierto en
el escenario principal y en los corredores durante el receso por Ilu
Aye, un combo afro-caribeño.
Series tan mayoritarias como “Sex and the City” de la HBO,
“Friends” de la NBC y “Beverly Hills 90210” de la Fox mostraban pocas representaciones de las llamadas “minorías” y NO
estoy diciendo que todas tengan que tener un arco iris de etnicidades, pero cerrar la oportunidad de trabajo y retratos basados en
antecedentes étnicos debería ser algo inaudito, ridículo y sencillamente inaceptable.
Quiero darle las gracias a Adam Moore, Ryan Gilliam, Julia
Gutiérrez Rivera, Nicholas Arture y por supuesto a nuestros vol-
Hay una línea muy delgada entre lo que podemos usar en
relación con nuestro aspecto y nuestra personalidad y el llamado
9
“estereotipo.” Se reduce a una pregunta sencilla: ¿Le hacemos
daño a nuestra imagen, a nosotros mismos o a nuestro futuro trabajo? ¿Estamos contribuyendo a un ciclo que es, desde luego,
extremadamente ignorante? ¿Por qué no tomar a ese puertorriqueño fuerte y moreno y hacer de él un maestro o un policía en
vez de SIEMPRE el traficante de crack? Yo no puedo interpretar a una chica de Georgia de los EE.UU., ¿verdad? Pero,
espera, ¿Acaso Renée Zellweger, nacida en Texas, no interpretó el personaje británico de Bridget Jones? Si yo tengo las
cualidades físicas, de voz y de interpretación ¿por qué no puedo?
Mi profesor de interpretación me hizo interpretar a una chica
inglesa de Manchester de 1050. Todos hablaban de la chica inglesa, en términos de “Te refieres a esa chica inglesa fabulosa.”
Resulta que esa chica inglesa era de San Juan, Puerto Rico y resulta que es alguien que conoce sus limitaciones “reales” y ÉSE es el
primer paso de un actor, claro. Pero juega el juego como TÚ
quieres jugarlo. Porque hay demasiada gente por ahí con ganas de
vender un trozo de lo que son, para una obra de ese estreno de “la
puerta de al lado” que nunca llega a nacer. Mi profesor de interpretación también me dijo: “No hay nada malo en interpretar a
una prostituta, sólo que no interpretes a la Prostituta Número
Uno o Número Dos sino a una con un nombre y un propósito
en la historia.”
Me doy cuenta de que esto es un negocio y uno muy lucrativo.
Entiendo la naturaleza de la ponente cuando nos “enseñó” como
hacer castings episódicos. Sólo quería ser realista en referencia a
NUESTRAS oportunidades. Hay una diferencia entre los
estereotipos y los roles en los que encajamos, famosos o no.
Gael García Bernal dijo una vez: “No necesito seis casas” y por lo
tanto no compromete su trabajo. Sí, ya sé que la mayoría de
nosotros sólo pretendemos pagar el alquiler. Pero, realísticamente
¿cuáles son nuestras opciones? ¿Se reducen a abandonar? Si todos
seguimos la misma “estrategia,” si nos rendimos a la ilusión de
que nuestros caminos sólo se abrirán cuando hayas dado los pasos
“básicos” de un actor que trabaja, se convierte, en realidad, en una
carrera sin vencedores.
¿Cómo enfocamos este desafío, este objetivo, de ser un actor que
trabaja? Sean claros, naden contra la corriente. Aprendan como
utilizar la información para conseguir su objetivo, para vernos
más a nosotros en las pantallas grande y pequeña. Pero ¿vamos a
vender sólo un trocito de nuestra alma para llegar allí? Todos tenemos de algún modo nuestra forma. Para mí sería tan frustrante
ser una actriz sin trabajo como una actriz que trabajara incesantemente en estereotipos negativos de latina (escojan uno).
Puede ser que no “lo consiga.” Puede suceder que no cuente las
historias que siento y que deseo contar. Me doy cuenta de que
lograr un trabajo bien acabado no depende de mí sino de un conjunto, como dijo en una ocasión Luis Buñuel. Pero SI QUE
DEPENDE DE MI diferenciar entre lo que es trabajo y lo que es
un personaje sin sentido. No tiene por qué ser uno muy profundo,
pero debería ser elección mía y basado en mi talento, en vez de
alguien totalmente enajenado de quién soy y que me cuente constantemente QUIEN soy. No tengo nada que perder y, oigan, no
olvido que lo tengo todo por ganar.
Tendemos a olvidar la riqueza de quiénes somos. Tendemos a
negar el hecho de que ser un actor implica llegar a ser y abrazar
nuestras vidas. Damos valor a lo invaluable. Nuestro peso como
actores no debería medirlo nuestra ascendencia ni nuestro apellido sino sólo nuestro talento. La única limitación debería ser que
demasiados de nosotros tenemos mucho talento. ¡Entonces hagamos castings, entonces actuemos!
Escojan bien, sean realistas y nunca, nunca, dejen de luchar.
Sobre todo ESTÉN SEGUROS de que, mi hermano y mi hermana, abrirán la próxima puerta
“poderosa”. ¡Buena suerte!
...Escrito por Nicole Betancourt
Traducido por Angelina Llongueras Altimis
[Nota de la redacción: El anterior artículo está escrito por Nicole
Betancourt, socia de HOLA. Las opiniones expresadas por Srta.
Betancourt no necesariamente son las mismas de la organización
HOLA o de su gerencia. Si es socio de HOLA y quisiera escribir un
artículo por el boletín, puede comunicarse con nosotros en la oficina.]
PROGRAMA DE TRABAJO PARA ACTORES
[Actors’ Work Program]
Cada lunes, desde las 12 del mediodía hasta las 2 y media de la
tarde, en una oficina de un modesto edificio de la Séptima
Avenida en Manhattan, alrededor de 20 actores se reunirán en un
cuarto para conferencias sin ventanas, silenciarán sus celulares y
esperarán para escuchar lo que bien podría ser la respuesta al
ruego de: "¿Cómo voy a pagar el alquiler de este mes?" Ellos
esperan ensimismados en sus problemas, cuando se les presenta
Patricia Schwadron, una mujer simpática y jovial conocida por
su sobrenombre de Patch, Supervisora Consejera de Carreras del
Programa de Trabajo para Actores (el Actors' Work Program,
o AWP, por sus siglas en inglés) de La Fundación Americana
para Actores (The Actors' Fund of America). Ella pone un rayito de luz en el ambiente cuando le pide a cada uno de los presentes
que describa brevemente por qué está ahí, y qué espera del AWP.
El ánimo en el cuarto se aligera, a medida que cada participante
utiliza la oportunidad que se le brinda para compartir algo que a
todo actor le puede resultar difícil de expresar: el admitir públicamente de que las cosas no son "buenas," ni siquiera "pasables" y
que en realidad están "peores que nunca," que cada vez se hace
más pesado pagar el alquiler o vivir como miembro de una compañía teatral ambulante, que trabajar de mesero es algo intolerable… y otras quejas por el estilo que aquellos que no piensan en
ser actores no podrían entender.
Entonces, Patch explica con optimismo las muchas y diferentes
facetas del AWP, y cómo sacarle partido a todas ellas. El primer
paso es siempre la orientación, puesto que el AWP se encarga de
todo, desde "Ayúdame a conseguir un trabajo antes de que el
casero me vuelva a ver", hasta “Quiero regresar a mis estudios y
graduarme". El AWP ofrece clases de computación, búsqueda de
trabajo, desarrollo de una red de comunicación, creación de un
resume, y sesiones de asesoramiento para la carrera de actor.
Los programas de carreras nocturnos, que se ofrecen mensualmente en la actualidad, son: Enseñanza de Carreras incluyendo el
10
inglés como segunda lengua (English as a Second Language, ESL
por sus siglas en inglés), Las Artes en la Educación, Negocios
Pequeños y Empresariales, Regreso a la Escuela y Trabajos en la
Industria Turística. El AWP también ofrece subvención de inscripción y acceso a fondos gubernamentales para el entrenamiento de
trabajos. Además, la orientación cubre otros recursos de la
Fundación para Actores, como información sobre seguros de salud
para el no asegurado o para el que no tiene suficiente seguro, utilizando el Centro de Recursos para Seguros de Salud (Health
Insurance Resource Center, www.ahirc.org), la Clínica de Salud
Gratuita Al Hirschfeld (Al Hirschfeld Free Health Clinic), y la
Iniciativa de la Salud para la Mujer de Phyllis Newman (Phyllis
Newman’s Women's Health Initiative). Otros programas de la
Fundación para Actores explora temas relacionados con la vivienda, cómo vivir con el VIH, y el actor y el dinero. Usted comienza a ver que la Fundación para Actores es la enorme red de seguridad que no imaginaba tener. Al final de la sesión de orientación se
le da una cita de asesoramiento para conversar sobre los planes de
su carrera y sus necesidades.
A cambio, el AWP pide muy poco, sólo que documente cualquier
trabajo que obtenga por medio de ellos y envíe dicha información
al Programa. También se invita a los miembros a prestar su cooperación voluntaria. El programa de voluntarios es muy flexible.
Sólo requiere que se presente y trabaje para ellos. Creo que no les
preocupa si su inglés es o no perfecto - porque si sabe el alfabeto
y puede archivar, ellos están dispuestos a trabajar con usted.
El Programa de Trabajo para Actores y la Clínica de Salud Gratuita
Al Hirschfeld, están abiertos para los miembros de las uniones
de actores (AEA, AFTRA y SAG) entre otras uniones de la
industria del entretenimiento. Atención para los miembros de
HOLA que no están afiliados a ninguna de esas uniones: si documentan haber ganado $6,500 o más por año como actores en
tres de los últimos cinco años, se les considerará como miembros de la comunidad de la industria profesional del entretenimiento y podrán hacer uso de estos programas.
SESIONES PA R A APRENDER A E S TABLECER UNA
RED DE CONTA C TOS Y PA RT I C I PAR EN ELLOS
(N e t w o r k i n g)
En estas sesiones podrá hacer preguntas y compartir su
conocimiento sobre trabajos en la industria del entretenimiento, y
también sobre trabajos laterales no relacionados a la misma. Se
recomienda especialmente para aquéllos que buscan trabajo
inmediato. Todos los lunes de 2:30pm a 4:30pm.
BÚSQUEDAS DE TRABAJO Y
D E S T R E Z A S PA R A E N T R E V I S TA S
Trabajos protagónicos y secundarios, y recomendaciones para
impulsar sus destrezas como buscador de trabajos.
Todos los miércoles de 12 del mediodía a 2:30pm.
TA L L E R PA R A A P R E N D E R A
ESCRIBIR LOS CURRICULUMES
Para aquéllos que están desarrollando carreras nuevas o laterales
y necesitan un resumen comercial, no relacionado con la industria
del entretenimiento.
El tercer y cuarto jueves de cada mes, de 12 del mediodía a 2pm.
La Clínica de Salud Gratuita Al Hirschfeld también provee vacunas de la gripe cada invierno, normalmente en diciembre. La
clínica está ubicada en el edificio Aurora, localizado en el 475 de
la calle West 57 (acerca de la Avenida 10) en Manhattan.
Para saber más sobre el Actors’ Work Program ofrecido por la
Actors’ Fund of America, sírvase ponerse en contacto con ellos
con la siguiente información.
A c t o r s ’ Fund of A m e r i c a / A c t o r s ’ Work Program
Oficina de New York
729 Seventh Avenue, Piso 11
New York, NY 10019-6831
(212) 921-4295
A c t o r s ’ Fund of America/ A c t o r s ’ Work Program
Oficina de Los Angeles
5757 Wilshire Blvd. Suite 400
Los Angeles, CA 90036-5810
(323) 933-9244
Sitio del internet: www.actorsfund.org
A propósito, HOLA tiene algunos folletos del Programa de Trabajo
para Actores disponibles en la oficina. Saluden a Patch en mi nombre si la ven. A continuación le presentamos algunos de los programas que ofrece el AWP.
OPORTUN ID AD ES D E E MPLEO
Trabajo Lateral: Este trabajo ofrece empleo predecible e idealmente permanente, pero le permite tener la libertad y flexibilidad
de ir en busca de trabajo artístico. Por lo general, usted necesita
desarrollar destrezas propias del trabajo lateral para pedir una
remuneración monetaria que cubra sus necesidades financieras. El
contenido del trabajo es menos importante que la flexibilidad.
Y recuerden: deben asistir a la sesión de orientación antes de
comenzar cualquier otra cosa con el Programa de Trabajo para
Actores.
Advertencia: La lectura de este artículo no les salvará de tomar la orientación (ja ja).
Carrera Paralela: Participar simultáneamente en dos ocupaciones
diferentes, igualmente importantes, para diversificar los ingresos
y satisfacer distintos intereses.
...Escrito por Noemí de la Puente
Traducido by Graciela Lecube
VISITE NUESTRO DIRECTORIO DE ACTORES HISPANOS
Segunda Carrera: Construir una futura carrera, que será tan importante y tan intensa como la primera carrera para la persona, y tal
vez la reemplace totalmente.
HOLA PAGES (www.hellohola.org/HP5)
SÍ LE INTERESA PARTICIPAR, CONTÁCTENOS POR
CORREO ELECTRÓNICO EN [email protected]
11
INFORME DE LOS PREMIOS HOLA 2006
(2006 HOLA Awards Report)
Los que no asistieron a los Premios HOLA el pasado septiembre,
¡se perdieron el espectáculo del año! Este año, la ceremonia de los
Premios HOLA se llevó a cabo en un lugar diferente, el hermoso
Auditorio Langston Hughes en el Centro de Estudios en la Cultura
Africana Schomburg (nombrado por el historiador afro-boricua
Arturo Alfonso Schomburg). La ceremonia contó con la hermosa
voz de Blanca Camacho como locutora, los carismáticos Jorge
Ramos y Odalys Molina como anfitriones y una orquesta dirigida
por el Maestro Desmar Guevara.
televisión, el cine y el teatro.
Parece como si cada año tenemos algo nuevo y excitante que celebrar. Lo asombroso es que el proceso de crear la ceremonia de
los Premios HOLA empieza mucho tiempo antes del evento y el
éxito del mismo, se debe a que hay muchas personas estupendas
asegurándose que cada detalle salga a la perfección.
Este año la ceremonia estuvo escrita y dirigida por Jack
Landrón, quién, con la ayuda de los empleados y del personal
voluntario de HOLA, logró que todo fuera todo un éxito. La
escenografía estuvo diseñada por Manuel A. Morán y ensamblada por José “Tito” Bisonó de SEA. El regidor de escena lo fue
José Esquea y la filmación la hizo Rafael Merino Cortés de NY
Latino Journal. El video del evento está disponible para la venta
(ve a la página 8 para más información). [Nota de la redacción:
La lista de los premiados la puede encontrar en la página 7].
Todo en la ceremonia de los Premios HOLA fue refrescante ya que
estábamos celebrando más de 30 años de existencia, recibiendo a
los nuevos miembros de HOLA, a los nuevos empleados, agradeciéndoles a los miembros de la Junta Directiva y celebrando los
continuos logros de los directores de casting, agentes y auspiciHubo muchos momentos culminantes. El tributo que hizo
adores de HOLA.
Soledad O’Brien a sus padres y a su crianza multicultural; Jorge
Un mar de gente hermosa estuvo presente en la ceremonia y Ramos al no darse cuenta de que estaba presentando un premio
además disfrutaron la comida (provista por Salsa Caterers) y la sorpresa que era para él mismo; hasta los discursos de agradecimientos graciosos y conmovedores de Kamar De Los Reyes,
bebida (por la Casa de Vinos/Luis Vázquez).
Arthur Avilés, Jessica Florí, Iván Camilo, Margarita Toirac, y
“Y el ganador es… Danny Rivera, por su excelente contribución muchos más. Fue una noche para recordar.
al Teatro Pregones en la producción teatral La rosa roja/The Red
Rose.” También como a Danny, premiamos a muchos de nuestros
miembros de HOLA, quienes contínuamente hacen una labor
extraordinaria en los teatros, preservando la tradición del teatro
latino y quienes nos dejan saber, que están luchando por su
latinidad en la pantalla grande, en la televisión y en los escenarios.
La interpretación de Elise Hernández y Danny Rivera de una de
las canciones de la obra musical La rosa roja/The Red Rose, cerró
la ceremonia. No emocionó tanto que nos produjo escalofríos.
Fue una clausura apropriada para una noche excitante y dinámica
que nos hace pensar en lo que HOLA hará el próximo año.
...Escrito por Blanca Vásquez
(con la colaboración de A.B. Lugo
La noche no tuvo igual. Fue una hermosa noche de otoño, que se
sentía como una veraniega, muy calurosa. A pesar de que no Debajo: Danny Rivera, centro, acepta su Premio HOLA Ilka. También en la
teníamos una alfombra roja, tuvimos nuestras propias celebridades foto, las presentadoras Miriam Colón Valle, izquierda, y V ida Landrón,
de latinos orgullosos reuniéndose para celebrar sus logros en la derecha. Foto por Arthur López.