Silvina Lamazares
07/26/2021 6:00
Clarín.com
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TV
Updated 07/26/2021 6:00 AM
Just as she did with the world, which traveled through it and then put down roots in Argentina, we
reviewed her magical character palette to stay with Eleonora
, the woman with long black hair blowing in the wind who ventured who the color TV was going to kill. .
A way to pay tribute to Ana María Campoy, this Monday the 26th,
the day she would have turned 96
.
Great-granddaughter, granddaughter and daughter of actors, had the apple surrounded: so much so that at the age of 4, at a height of a play by her parents' theater company,
with the room full and the stage empty, she decided to appear "in front of the public to do cute things
, dragging a huge gypsy dress.
And they all laughed at each other ”, said
one of the funniest, most versatile and most charismatic actresses
who has worked in this country.
That anecdote, which could well mark his debut on stage (although he received permission to act when he was 7 years old), occurred in Spain, where
Anita Tormo
and
Ernesto Campoy were from
.
She was born on July 26, 1925, in Bogotá, in the middle of a theatrical tour.
Ana María Campoy died in '96, at the age of 80.olga zubarry interview for a major word maria campoy interview for a major word interview for a major word interview for a major word
Her roadmap marks that she worked in Spanish lands (she filmed her first film there, at the age of 12:
Aurora de Esperanza
), in Mexico and in Portugal among other destinations, that
she married José Cibrián in '47, in Guatemala
, which a year later she became a mother for the first time in Cuba (José Cibrián Campoy, the eldest of two brothers) and that
in '49 the couple of actors chose to settle in Argentina
.
Here he worked in theater, film and TV with many more successes than failures.
The Cibrián Campoy were part of the clubs of Argentine television
, with two programs at the beginning of Channel 7, the only signal that there was in the first nine years of the medium:
Teleteatro de suspenso
and
Néstor Villegas watches
.
Already consecrated as an oiled duo outside and inside work, in '53 they starred in
How I Love You Ana
, and five years later, they came out with
How I Love You Pepe
.
They were times of black and white, times that she knew in depth how,
from that springboard, to mold a phrase that was left in the hem of the memoirs of television
, on one side and the other of the screen.
Marriage and something else: Cibrián & Campoy, an unbeatable formula for comedy.
"Eleonora? Yes, the one who said this is going to be killed by color television ”
, was the response most listened to on this
journey to reconstruct the character's history
.
The creature that loosed La Campoy's hair
Pícara,
Ana María always had a loose tongue and tied hair
(especially in her adult stage), more than the bun, the strappy hairstyles.
But, an actress who knew how to compose from inside and outside,
she released it on stage to give life to Eleonora Sala
(she has also appeared in some credits as Salas), an actress stubborn with the classics, devoted to Antón Chekhov, with a
certain initial tendency to declamation
.
Eleonora
was very serious and that made Campoy very funny
when she lent her her body.
There is no birth certificate to corroborate it, but
Eleonora was born in a theater
, in a kind of parodic monologue about
a somewhat resentful and very presumptuous actress
.
However, he became popular on television, especially in a segment he had in
Badía y company
, Juan Alberto Badía's Saturday magazine.
It was the first half of the '80s, and
Campoy was letting go of her long and shiny hair
(she never told the secrets of how she took care of that beautiful hair) so that her character could interview some famous figure, whom she
treated as a colleague on camera , and then criticize it with the blessed phrase from color TV
.
Jorge Basurto and Ana María Campoy, the dui behind Eleonora.
Clarín Archive.
Behind Eleonora's sandwiches, wherever she did it (she flourished it for a handful of programs), there
was the pen of Jorge Basurto
, one of the best humorous scriptwriters that the small screen had, who also knew how to make a good pair with Juan Carlos Mesa (Campoy interpreted Mesa's lyrics in the comedy
Stress
, among other cycles).
Thanks to Gabriel, one of Mesa's sons,
Clarín was
able to find Marisa, Basurto's daughter, a psychoanalyst and
owner of a good memory, which allows us to go back to the beginning of the character
: “She appeared to be an actress who made classics and always repeated
'I, who studied, who did Chekhov ...'.
In the sketch she did, she went to look for work on the channels and they would take her out running. And then he would say,
'What killed me was color television
.
'
They did
n't
really
take it because it was bad
. "
The phrase
was adapted to the needs of TV
, so that color was also,
in his mouth, a threat to many
. And it was
'Color television is going to kill this one'
or
'It's going to kill you ...'
.
The text, in addition to the variations, became his best catchphrase
.
From those good old days, Marisa remembers behind the scenes of that link between author and actress.
He goes to a situation that could well be a text from his father in a script from his family home, in Ayacucho and Santa Fe, and says that “it has remained a very endearing thing for me… My father and Ana María met while working , maybe they may have crossed paths before, over there.
But as a result of the scripts, which at that time were more elaborate than now, it was not television delivery, they
spoke often on the phone and chatted a lot, I am talking about times without cell phones
”.
And complete the postcard: “When Ana called home, my mother would answer many times.
Ana María was very talkative, very talkative and they had made a good relationship.
I remember very clearly that first I would talk for a long time with my mother. "
Once "it happened to him with my father, he commented to me:
'This Ana is so funny
.
'
Because he said
'When I call your house and talk to you, and then you call Jorge to attend to me, I imagine a corridor long and narrow, and that Jorge comes walking from afar to the place where the phone is
.
'It
was all very funny, and there was that
' Wait, now I'll call you, here he comes down the long corridor '
, imaginary corridor, of course " .
Basurto's daughter defines her as
"a very angered woman and her character was of a very dense mine
, dressed in classical theater clothes, who called the producers and offered roles that did not fit with the TV of that moment."
And one day Eleonora cut her hair
The character's recipe consisted of Basurto's libretto, Campoy's histrionics, the resentment of
that imaginary woman who had been anchored in time,
and that hair that exploded with a simple movement of the head.
It was like Susana Giménez's shock, but without the glamor
of the case.
The Room was not glamorous, it was pretentious.
Eleonora Sala found her best catchphrase on color TV.
In an interview he gave to
La Nación
in April 1998,
Campoy recounted what he did with his hair and with his fictional girl
: “I cut it off.
I cut it off because when the television started to get very rough, it didn't seem bad to me, but I didn't want to do it.
So they suggested that a character that I played, Eleonora ... please let me go a bit.
And I said:
'No, not only am I not going to get away, but I am not going to do it, since I am free I am not going to do it
.
'
Not only did I not do it, but I cut Eleonora's hair, poor thing
. "
Consulted for this note, the producers of
Badía and company
do not keep material from that section in which Ana María
played an actress who did not resemble her at all
.
The funniest of the group of friends
Nora Cárpena, with whom he shared the poster, for example, in
The Last That Turn Off the Light
(Hermitage Theater, 1983), understands that Eleonora “
was a kind of El Contra in a female version
.
When I did it in interviews, I waited for the figure to leave and then criticized it with the color TV.
He spoke of her as a great star, above the others.
She was so funny.
Well,
Ana María herself was very funny
”.
He acknowledges that “it
was very difficult to get bored with Ana
.
Imagine when she and China Zorrilla got together.
It was like
a tournament of anecdotes
... you will never know if they were all true, but how well they told them.
They were divine stories ”.
When
Pepe Cibrián suffered a stroke
in '90 (he died in December 2002), his wife took care of him,
without ever losing the humor in the couple
.
This is how the two recognized it in Susana Giménez's living room, in light of Ana's 70 years.
“We went out a lot and she enjoyed it, but she
never stopped paying attention to him, she called him and told him things
, she said
'Yes, we had so many people in the first show, so many in the second'
, and we had only gone to dine.
She was a great storyteller "
Cárpena comments that "she took care of him until the last day ... Well, as I did with
Guillermo (Bredeston)
. Being with Ana was a luxury, she had a lot of sparkle", shares the actress who is in charge of
Radioteatro Del Plata
(at 1030 am) , with adaptations of works by the enormous Alberto Migré.
Grace, the noun that best defines her according to her friends.
Graciela Borges
is another member of the
La Campoy fan club
.
From her house in Pilar she evokes the times when she was visiting
Badía and company
: “Many times I saw her play Eleonora, there in the studio, and then we would go to eat.
Anita was very funny.
I have countless memories with both of them, because I met them when I was very young ”.
She says that “when I got married, the entire Campoy Cibrián team came to a farm that we had with
Juan Manuel (Bordeu
, her husband) in San Isidro and
she brought the richest tortilla in the world
.
She was so histrionic, that her children would go into the pool in the middle of summer, with enormous heat, and she would suddenly say to the youngest (Roberto),
'Son, get out of there, your nails are purple.'
He made unforgettable scenes.
She was loving and generous.
And her husband the same ”.
And, from the deepest knowledge, she gives away that “
where she was there was creativity and grace, she never complains
.
It was fantastic.
You would go home after eating with Ana and you realized how happy you were to have been with such a funny and sensitive person ”.
Eleonora was born in the theater, but became famous thanks to TV.
After hitting around the world, La Campoy died in Buenos Aires on July 8, 2006, a few days before turning 81.
When he blew out the 70 candles, and went to celebrate it in Susana's television living room, he defined himself without euphemisms:
“I'm like a race car, I have to go to 220, if I don't get bored.
And nothing worse in life than boredom ”
.
Impossible to get bored, say those who had it close.
Impossible to get bored say those of us who interviewed her.
Impossible to get bored with the woman who composed Eleonora, perhaps fought with color TV, but
capable of leaving a mark on those of us who saw her fluttering her hair.
And grace
.
Thanks, Campoy
.
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