REMEMBERING: Alina Rodríguez, a "Top Notch" of an Actress

Actress Alina Rodríguez carried in her eyes the wild tenderness of the fine gold mulattoes that our Guillén once spoke of, and that hint of a wounded tigress was very much alive in her first leading role on screen. María Antonia, who full of dreams and passions seeks to be reborn from the bonfires of her guilt.

The artist forever remembered this character that in fiction devoured her soul. Consuelito Vidal said of her huge work in that character: "What a wonderful actress is that Alina Rodríguez! For Cubans, she is top notch, she is the best, the peak, that is the protagonist of María Antonia."

In an interview I conducted with her after the film, she told me: -I got so into María Antonia or she into me that I carry her in my skin, I hear her breathe and, sometimes, I see with her eyes, I speak with her voice. There are characters that stick to you like that, as if they were submerging you to the bottom and it’s difficult to get them out; I think that only time...

Sergio Giral, the director, never saw her as the protagonist because there was a very defined image of María Antonia, black, created by Hilda Oates for the theatre; however, after trying out several actresses, he decided on Alina.

In the early days, thanks to the tensions between Giral and her, they argued a lot until they managed to understand each other: the director's hand is very important when it comes to forging the character, of conceiving it. He was a great connoisseur of these environments and was able to contribute to the actress, who already had other references, and even in Santa Camila de La Habana Vieja, she had delved into the historical-social aspects of those stages.

-What was the most difficult scene?

The whole shooting was very difficult for me because the character is very disturbing, full of nuances, more heart than brain. Taking ownership of that mystery that surrounds her despite being so common as human beings was not easy. One thing happens to me; I’m one of those artists who sometimes lets loose too much and Sergio had to contain me; that’s why I think that in Julián's death he achieved that meeting of emotions and everything within a fair balance.

-And what do you think about the ending that has stirred so many controversies?

It’s open, open to many questions: there are those who have said that it’s unnecessary. Imagine, each one has their own different point of view based on their own levels of reading.

-What did you like most about María Antonia?

Her authenticity. Eugenio Hernández achieved it in the theater, and Sergio in cinema.

-As an actress, do you still feel fear in front of the public?

Yes, it’s a strange fear and I think it happens to all actors, it’s something that keeps your heart in suspense, even if you know the works by heart and have rehearsed until exhaustion, but the responsibility is very great and you cannot let the audience down. When one feels totally secure, confident, you have lost that initial dazzlement. I, even though I have been on stage for 20 or 30 years, will still have that fear of the first time.

Alina considered that to talk about her as an actress it was necessary to do so after En el parque with Adolfo Llauradó, directed by Vicente Revuelta. Other important productions are those mounted by Raquel Revuelta, Berta Martínez and Estorino.

-I have learned something from each director, however, Vicente managed to bring out everything that she had inside as an actress; he made a very deep inquiry; that histrionic capacity made her wake up, made her emerge. She is great at her work directing actors.

-Do you worry about fame? Do you enjoy it?

I couldn't answer that question exactly because I don't consider myself famous, but rather popular. Recognition for my work doesn't feed my personal ego, I'm a very simple person, who runs away from vanity

For me, the character of Caridad in La séptima familia was an explosion; I have thousands of anecdotes about it. What I can tell you is that it gave me the measure of how it reached people; they congratulated me for my performance and they said horrible things to me "for being a bad mother."

Alina was born in Camagüey, but she has lived all her life in Havana. First, she studied teaching and then she leaned towards medicine, and even worked in a laboratory; there, in the same hospital, she began to participate in cultural activities until she decided to take the test at ISA. In 1982 she graduated and entered Teatro Estudio: "It's the only one I've been in and the one I intended to be in because its line of work always interested me."

In her extensive professional career, her roles in Cuando el agua regresa a la tierra and in Tierra Brava, where she played Justa Quijano in an unforgettable duo with Enrique Molina, in the role of Silvestre Cañizo, also stand out. In the cinema, she played another iconic role in Conducta, as the teacher Carmela. Alina passed away on July 27, 2015.

Among her many awards and recognitions:

In the Park. Theatrical work. Mention for female acting. Competition of the Cuban Writers and Artists Association. Havana, 1987. Mention for female acting. Camagüey Theater Festival. 1987.
El premio flaco. Best acting. ACE Awards 2011, awarded by the Association of Entertainment Reporters of New York. United States, 2011.
The wedding. Award for female acting in theater. Competition of the Cuban Writers and Artists Association. Havana, 1997.
La septima familia. Mention for female acting on television. Competition of the Cuban Writers and Artists Association. Havana, 1988.
Lista de Espera. Award for best supporting performance. Competition of the the Cuban Writers and Artists Association. Havana, 2000.
María Antonia. Award for female acting. New York Latin Festival. United States, 1991.
Tierra Brava. Female acting award on television. Competition of the the Cuban Writers and Artists Association. Havana, 1997.