José Antonio Rodríquez Ferrer

He is one of the major figures of the Cuban theater scene, to which he has contributed as an actor and director. He is characterized by his expressive power, his ability to embody different types and characters, and his skill in participating in both classical theater and the most experimental and contemporary work. His powerful voice and command of his body helped him extraordinarily to face the most diverse and difficult characters with great success.

He was born in Havana. As a child he studied at the Marista Brothers school run by priests; he traveled by bus and since the trip was somewhat boring, he became popular by telling invented stories to the other children. Since childhood he loved being an actor and created his own movies, which he performed with characters of gunfighters and sometimes in English. It was his favorite game.

He took classes with Pedro Boquet, a Catalan actor who lived on Monte Street. Later he practiced more and Boquet noticed his deep voice and recommended him to a comedy group that worked at the radio station El Arca de las Medias. They were amateurs and earned no money. This group was called Voces Amigas and constituted his debut as a radio actor.

He began studying at the University Theater but never had consistency there; he went his own way, drifting without direction, and his only school was life and his commitment to work. He is self-taught although he has passed through different schools. One of the greatest figures of Cuban theater.

With the creation of the National Dramatic Company, beginning in 1961 he began his brilliant and distinguished work in theater. The theater was enriched by his presence on stage. From this period are memorable his performances in The Taming of the Shrew, directed by Néstor Raimondi, alongside Asenneh Rodríguez, as well as in The Mother, by Gorki-Brecht. He also performed Romeo and Juliet, by Shakespeare, directed by Otomar Kreycha, a Czech director and designer. He took the lead role in King Christophe, by Aimé Cesaire, directed by Nelson Dorr, as well as participating in Like a Movie!, a theatrical text by Carlos Felipe directed by Pierre Chausap in which José Antonio embodied Chaplin.

Between 1967 and 1968 he worked in the group La rueda, where his lead role in Who's Afraid of Virginia Woolf? stood out, alongside Verónica Lynn in the complex character of Martha. In 1968 he joined the famous Group Los 12, by Vicente Revuelta where in 1969 he embodied the protagonist of Peer Gynt, by Ibsen.

He moved to Teatro Estudio at the beginning of the 1970s. There he took on the role of Anselmo in Bread and Onions with You, in a revival of the work by Héctor Quintero. He also worked in Saint Joan of America, alongside Raquel Revuelta. Directed by Berta Martínez, he performed Macbeth with this company; his interpretation of Galileo Galilei in Vicente Revuelta's production was also notable, with whom he shared the lead role, also at Teatro Estudio.

He founded the Buscón Group in early 1980, where he achieved his best work as a director: The Astounding Benedetti, Buscón Looks for an Othello, Comics for Hamlet… versions highly awarded and recognized by the public and critics. In all of them he directed and acted.

José A. Rodríguez had a long and valuable career in television. His interpretation of Rigoletto, in the telenovela The Impure Women, by Miguel de Carrión, directed by Roberto Garribga, is memorable. The acclaimed actor starred in Sack of Ghosts, in Open Stage, in coordination with the National Council of Performing Arts.

In 1962 he debuted in cinema in the film Cuba 58 by Jorge Fraga; he later also participated in: 1963 The Other Christopher (France). Dir. Armand Gatti. 1964 Transit. Dir. Eduardo Manet. 1965 The Robbery. Dir. Jorge Fraga. 1967 Tulip. Dir. Manuel Octavio Gómez. 1968 The Odyssey of General José. Dir. Jorge Fraga. And Men of Bad Weather (Doc.). Dir. Alejandro Saderman. 1969 The First Machete Charge. Dir. Manuel Octavio Gómez. 1971 A Cuban Fight Against Demons. Dir. Tomás Gutiérrez Alea. 1976 The Last Supper. Dir. Tomás Gutiérrez Alea. 1981 Cecilia. Dir. Humberto Solás and Red Dust. Dir. Jesús Díaz. 1983 The Compass Rose. Dir. Patricio Guzmán. 1985 Baraguá. Dir. José Massip. 1989 Under Pressure. Dir. Víctor Casaus. 1990 María Antonia. Dir. Sergio Giral. 1995 Put Your Thoughts on Me. Dir. Arturo Sotto.

Other related activities He has narrated a considerable number of documentaries for both cinema and Cuban television. He has also worked in Spanish television. He has taught excellent acting workshops at the National Theater of Cuba, on various occasions.

Awards and recognition He received the National Prize for Theater for the year 2003, shared with actress Verónica Lynn.

Two Coral Awards for acting at the New Latin American Cinema festivals in Havana Alejo Carpentier Medal Order for National Culture.

His last public appearance was precisely in a theater. He was turning 80 years old, and a simple tribute at the Bertolt Brecht Cultural Center brought together family, friends and artists to celebrate his anniversary. Although he was there physically, his mind was affected by a degenerative disease.