Angela Cano is an actor with a rich artistic background rooted in the artistic hub of Medellin, Colombia. She first captured international attention through her riveting portrayal of Ushe in Netflix's acclaimed series "Green Frontier" ("La Frontera Verde"). Building on this momentum, Cano now graces the screen in the thrilling new Netflix series "The Hijacking of Flight 601" ("Secuestro al vuelo 601").
Beyond the camera's reach, Angela continues to engage and inspire audiences with her passion for theater, modeling, and burlesque, participating in various artistic productions.
In this conversation, we explore Angela's view on the transformative power of her art, both personally and socially. We delve into how her work addresses societal taboos, sparks community awareness on pressing issues, and the influence of her mentors on her artistic path. This interview was conducted by Dr. Anna Maria Matziorinis, with original questions posed in Spanish and translated from Spanish.
During the pandemic's peak in Colombia, as I faced the solitude of home confinement, my passion for theater became a beacon of expression amidst the silence. It was a time when the media was flooded with harrowing stories of women and girls being subjected to unimaginable violence—raped or murdered by their partners. These narratives haunted me, igniting a fervent desire to act, to use my voice in their stead.
I turned to the poignant words of Angelica Liddell, a playwright whose work resonates with raw emotion and unapologetic truth. Her piece, "Yo no soy bonita ni lo quiero ser" (I am not pretty, nor do I want to be), became my manifesto. Armed with a microphone, I poured my soul into recording it, infusing each word with the weight of the stories I yearned to tell.
Surprisingly, this single act of raw expression garnered more recognition than any of my roles in Netflix series. It underscored a poignant truth: sometimes, the most impactful performances are those that stem from a place of genuine emotion and a desire to illuminate the shadows of society.
In 2018, I had the privilege of directing a groundbreaking theater play set in a non-traditional space that delved into the heart-wrenching narratives of Operation Orion—a military operation executed in the urban landscape of Medellin. This operation gave rise to forced disappearances and is linked to what is presumed to be one of the largest urban mass graves in my country, ominously known as 'La Escombrera,' now concealed beneath layers of refuse.
Collaborating with Fredy Morales, a direct witness to his father's murder during this operation, we crafted a play that interweaves the diverse perspectives of both victims and perpetrators. Infused with the raw, rebellious spirit of Punk, the narrative employs the allegory of a farm and chicken coop to metaphorize the stark realities faced by those involved.
This moment of vulnerability bridged the gap between art and real-life, offering a platform for healing and connection. The experience affirmed my belief in the power of art as a healing mechanism, transcending its conventional boundaries to touch the lives of those it depicted.
Certainly. One pivotal figure in my artistic journey is Farley Velázquez, the visionary director of the theater group La Hora 25 in Medellín. My fascination with his work began at the tender age of seven when I witnessed his production "La mujer de las rosas" at the El Gesto Noble theater festival—a seminal event in shaping my cultural identity.
Velázquez, a disciple of Antonin Artaud's radical teachings, infused his productions with a visceral intensity and passion that left a lasting impression on me. His innovative use of space and props, such as the self-opening doors and stage filled with roses in "La mujer de las rosas," the haunting ambiance created by wax candles in "Rey Lear," and the stark, salt desert set for "Electra," showcased his unparalleled creativity.
Additionally, my journey has been profoundly influenced by my peers and educators at the University of Antioquia Faculty of Arts. Figures like Mono Grisales, Luz Dary Alzate, Maribel Ciodaro, Fernando Velazquez, and Mauricio Celis have each played an instrumental role in my development as an actress.
This ensemble of mentors and collaborators has not only shaped my artistic perspective but also instilled in me a deep appreciation for the transformative power of theater, both as a medium of expression and a tool for cultural engagement.
Embarking on my journey in the audiovisual arts, it didn't take long for me to realize the significant influence my work was beginning to wield. Surprisingly, I discovered that I had become a source of inspiration not just for my theater peers at university, but also for children in my neighborhood and emerging artists in my community.
This awareness has profoundly shaped my personal development and professional trajectory. It instilled in me a heightened sense of purpose, ensuring that my actions and decisions align with the fundamental reasons I chose the path of art in the first place.
It's a delicate dance between embracing the impact of my contributions and maintaining humility, always mindful of the broader community that shapes, supports, and is influenced by my artistic journey.
My artistic journey is not dictated by a deliberate search for specific or untapped subjects; rather, it unfolds through an innate urge to articulate the unspoken—those personal truths, denunciations, and emotions clamoring for release. Initially, I distanced myself from labeling my craft as inherently artistic or laden with political undertones, considering myself merely an actress.
However, I've come to understand that art inherently assumes a social and political dimension the moment it engages with its audience, transitioning from a personal endeavor to a universal dialogue. This realization marks the true completion of an artwork, lending it its deepest significance.
For instance, my decision to spotlight 'La Escombrera,' an urban mass grave near my home, through my directorial work was not born from a conscious social obligation. Instead, it emerged from a deep-seated need to honor and remember those lost souls owed to my community.
Similarly, my venture into burlesque was inspired not by a calculated choice but by a childhood dream and a deep reverence for an initial image of beauty—a ballerina adorned in rhinestones and sequins. This endeavor evolved into a spiritual journey far beyond mere performance. It taught me the essence of authenticity and the courage to defy societal judgments, embracing the full spectrum of my being.
"La Dolorosa" emerged from my engagement with Angélica Liddell's compelling text "dolorosa," a discovery made during my fifth semester of college through my friend Esteban Madrigal. This introduction marked the inception of a profound exploratory journey, transforming the play into a dynamic laboratory where we delved into the intricacies of acting and storytelling.
At the heart of "La Dolorosa" lies a narrative about a woman, referred to as the painful one—a prostitute contracted to die of love. The male protagonist, on the other hand, desires to exclusively possess her love unto death. In our third adaptation, we layered the narrative with the imagery of the "Virgen de la Dolorosa", juxtaposing her celestial persona with her earthly, womanly essence.
The backdrop of Medellín, a city grappling with the surge of sex trafficking and notorious for sex tourism, adds a poignant, contemporary context to our story. The chilling indifference towards the fate of these women, often found deceased and abandoned, underscores the urgency and relevance of our narrative.
By channeling these experiences into the play, I aim not only to reaffirm my own journey towards self-preservation but also to create a space of shared understanding and solace with the audience. It is my hope that "La Dolorosa" serves as a mirror for others to recognize and confront their own battles, fostering a sense of communal healing and introspection.