There is no love relationship that is not a miracle. But sometimes it is interpreted as an everyday thing, it comes and goes, people love each other and say goodbye. Here, in this relationship, several coincidences occur. There is a reading of a Picasso play, Maria goes and meets Albert, this boy who reads the work notes in a strange way. Then they see each other and love each other. They begin a relationship, which ends when he tells her he has to meet his wife. Four years later, in 1948, they met by chance on the Rue Saint-Germain and from there arose a relationship that lasted until Camus's accidental death. It was a difficult but very deep relationship; In today's terms, it could be described as asymmetrical, or at least toxic. She has other relationships, but she is lonely, while he does not abandon the family structure or the lovers he frequents. What I find fascinating about this story is the inevitability of encounter, of passion, and of love. Bombproof Union: They are needed, they are sought after, they are desired, they may have dark moments of self-reproach, but they are there. They have a relationship above all else. Up to three letters are written daily. An unbreakable and wonderful love. Great things in life are often due to a miracle or coincidence.
It was a moment of tremendous uncertainty in Paris, in Europe, and they were talking about love.
He is involved in the resistance, and runs an underground newspaper, which revolves around this general massacre. Moreover, they are given the highest expression of physical, mental and spiritual love. But not only is the passion that undoubtedly jumps out, a brutal and primal passion, but they also have a deep sense of love for each other. Each is necessary for the other, and in this world of barbarism they truly build a place for love.
In the booklet that reflects the cards [preparat per l’actriu Rosa Renom] Adapting it for the stage, I note that this relationship begins precisely on June 6, 1944, when the war reached its climax.
When they make love for the first time… the day when Europe collapses, when there's an allied advance and there's absolute carnage, and finally they've managed to build a bridge from the coast to the advance towards the continent, these two beings are there sublimating human history, making love.
You yourself were born in Uruguay four years after this scene took place… and here you are granting them their rights to the theaters to which they belong, on the other hand. What are the two characters for you?
Note that when I was about to turn thirteen, I heard the news of Camus' death on Spanish national radio. I remember it clearly. Straight road, tripping into a tree, crashing, dying… I didn't know who he was, but in my family's theatrical circles he was a famous man, especially for Caligula, his play, and the theater. His relationship with existentialism and with Jean-Paul Sartre. I read it next, The Stranger, Sisyphus, and many others… It was Caligula that fascinated me; I've shown it on stage, and it still amazes me, one of the most lucid texts of the twentieth century. I followed his career, his relationship with the Communist Party, his disagreements with Sartre, and that phrase he said: “Between the revolution and my mother, I choose my mother.” You have to be very brave to say that at that time. So when Rosa Renom offered to make a montage using these cards, I accepted immediately. As for Maria Casares, things are completely different. In my house, she was a theatrical legend, a Spanish actress who became more French than French, and her name came to me everywhere. When we performed Doña Rosita la Soltera in Paris with Nuria Espert, we went to see her on stage, she had a very strong personality. In Barcelona, afterwards, we had dinner together at Barceloneta. She was a very funny, insightful, very intelligent and very passionate woman, and I had the opportunity to speak with her at a short distance. She was gorgeous, raspy-voiced, a non-stop smoker, an extraordinary actress, and a very strong woman.
In letters there are not only words of love. She talks about her father and he talks about her mother.
He came from Mahon, his mother's land, and his father was French from Algeria. She was the daughter of whoever was head of government of the Spanish Republic… In our edit of the letters, she told him that she would be ruined if she gave too much money to the Spanish Republicans. But it's true: they are both mutually interested in surviving relatives. It is interesting to see how they talk about their worlds, their theater and their literature. He tells her, from Algiers, that it is easier for him to talk to theater people than to talk to intellectuals. Those in the theater are more lively and spontaneous, and in front of intellectuals you have to forgive.
There is no arrogance in the correspondence.
And there could definitely be, because they're two big ones. But they are on their own path, they need love, and they need each other. They just talk about the two of them, about this shared love, and that somehow makes them bigger. I'm sure that when they met they went straight to work, whereas the letters were words, often spoken at the most intimate levels, from one side to the other.
There are also many appeals to fear, and not just what war produces.
Except in the possibility that the love they experience will end… He maintains the family relationship, and is a man in love. She's lonely, more understandable, she wants him, she misses him, she finds a physical and spiritual void when he's not around, she complains, he makes excuses. It is said that he was less involved, and I disagree with that. The correspondence between Maria Casares and Albert Camus is a love letter written to prove earthquakes.
Those who say he wasn't involved probably didn't read the letters…
Yes, it is very possible. And there may be people who read the letters and are still thinking the same thing. The relationship between Casares and Camus can be considered toxic in some ways. But at the same time that the relationship ends up being unique and unique, it becomes a relationship between two characters who express an enormous amount of love. There is a lot of love out there, and in an unchangeable way.
When he wins the Nobel Prize  She calls him in a telegram: “Nobel Prize! What a party, young winner, what a party!” On December 30, 1959, on the eve of the accident that cost him his life, he wrote to her in preparation for the reunion: “…Until Tuesday, when I start again…I will have no reason to deny it.” From your laughter, nor from our evenings, nor from my homeland.”
There is love in all cards. He is said to have written three similar letters to different women. But this does not detract from the fact that those for whom Maria had the quality of deep love had everything they wrote for each other.
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