Miguel Ángel Silvestre became an icon of Spanish television after his appearance in the series Without tits there is no paradise. The actor from Castellón de la Plana gained surprising popularity as one of the most attractive actors on the country’s acting scene, in addition to leaving equally memorable scenes in other projects such as Velvet, 30 Coins or Sky Rojo. However, his latest project is Paramount’s Mexican series, Los Elegidos.
The Valencian has joined the man who has been in charge of directing him, Juan José Campanella, in this Wednesday’s edition of El Hormiguero with Pablo Motos. There they have presented the second season of the series, available in Spain through Sky ShowTime, a work full of drama and suspense about a missing priest and a psychiatric colony installed in a town on the outskirts of Mexico City. A complex project for the performer.
However, it is not the only thing he does, even if it is behind the cameras. Another of his most recent hobbies has been literature, specifically writing a story. And it is a project of equally complex depth, since it is dedicated to the concept of desire. Silvestre defines it as a force of nature to which one must surrender, while society has made it a taboo that should not be touched in recent years.
The story is titled Nobody Stops the Rain, an allegory that Federico García Lorca also used in one of his best-known texts: Blood Wedding. “No one dares to stop the force of nature. In nature and in instinct there is more truth, it is connected with the sacred. “Lorca resorted to nature as a metaphor to express what was true,” said the actor, feeling that the writer thus expressed his homosexuality in a time impossible for people like him.
Blood Wedding is a tragedy in verse and prose that Lorca wrote in 1931, and which premiered on March 8, 1933 at the Beatriz Theater in Madrid, performed by the company of Josefina Díaz and Manuel Collado and with scenery by Santiago Ontañón. It tells the story of two noblemen from the upper bourgeoisie who have known each other since childhood, and who are prepared to marry with the approval of both families. However, a third character affects this dynamic.
The connection that the bride feels for Leonardo, and vice versa, and in several fragments Lorca expresses the sensations of desire for both. The most symbolic moments are those in which Leonardo trots the horse and it always ends up taking him to the bride’s house, knowing what his head is truly thinking. “I ride the horse and he brings me to you,” expressed Silvestre, admiring the figure of the ill-fated playwright from Fuente Vaqueros.