Lo vi por última vez haciendo “Final de Partida” en el Teatro Gral. San Martín, acompañado por Joaquín Furriel. Otro capo lavoro –uno más- de un actor fuera de serie, con un magnetismo extraordinario. Tímido en las entrevistas, reservado, apocado, introvertido, de bajo perfil (aunque dueño de un gran sentido del humor), este animal de teatro crecía y adquiría una dimensión descomunal en el escenario, sin lugar a dudas, su lugar en el mundo.
Recuerdo su labor descollante en clásicos como: Rey Lear, Hamlet, Recordando con Ira, Israfel, Historias del Zoo, Lorenzaccio, Romance de Lobos, Ricardo III, Los Caminos de Federico, Muerte de un Viajante, Largo viaje del día hacia la noche, Escenas de la Vida Conyugal (con su entrañable amiga y compañera, Norma Aleandro); “Filosofía de vida”, entre tantos otros.
Versátil, también se le animó a la comedia (Los Reyes del Vodevil, de Neil Simon), pero creo que su veta dramática se lucía más en el género trágico.
Dueño de una sensibilidad exquisita, de una voz memorable y de una dicción impecable, Alcón tenía la cualidad de metamorfosearse, de transformarse en el personaje que le tocaba encarnar, entregándose en cuerpo y alma, sin retaceos.
Un tipo coherente, humilde, con una trayectoria intachable, alejado de la frivolidad del “ambiente”, querido y respetado por sus colegas. Un trabajador apasionado, meticuloso, detallista, perfeccionista.
Alfredo Alcón fue unos de esos actores tocados por la varita mágica, bendecidos con el don, como Lawrence Olivier, Anthony Hopkins, Vittorio Gassman. Esos artistas irremplazables, insustituibles, irrepetibles, que dejan huella, marcan camino a las nuevas generaciones, y producen con su “mutis por el foro” un enorme vacío y una profunda tristeza.
“Adieu, adieu, Hamlet. Remember me”, le susurra el fantasma de su padre al Príncipe de Dinamarca. “Adieu, adieu, Alfredo. Te recordaremos por siempre”.
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He was unique, one of a kind, outstanding. His sole presence filled the stage. Such magnetism would draw everybody’s attention to him. One of those actors who become huge on stage. His voice, his gestures, his movements, his pauses, his perfect timing, his truth. And, alongside, in “real life”, his low profile, his shyness, his humility, his refined manners, his generosity towards younger actors, with whom he loved to work. No one could play the classics as he did. Shakespeare, Ibsen, Beckett, Miller, Williams. O’Neill, Lorca, Valle Inclán. I saw him last in “Hard Times”. He sat throughout the play, dark glasses on, captivating the audience with his lines, mesmerizing us beyond belief. His Kings were memorable, emblematic, unforgettable. The stage was undoubtedly his place in the world. He belonged there, he felt at ease. In “Hamlet”, (Act I, Scene 5), the Ghost says: “Adieu, adieu, adieu! Remember me”. Paraphrasing Shakespeare, we tell you: “Adieu, adieu, adieu, Alfredo Alcón. We’ll always remember you”. For ever.
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He was unique, one of a kind, outstanding. His sole presence filled the stage. Such magnetism would draw everybody’s attention to him. One of those actors who become huge on stage. His voice, his gestures, his movements, his pauses, his perfect timing, his truth. And, alongside, in “real life”, his low profile, his shyness, his humility, his refined manners, his generosity towards younger actors, with whom he loved to work. No one could play the classics as he did. Shakespeare, Ibsen, Beckett, Miller, Williams. O’Neill, Lorca, Valle Inclán. I saw him last in “Hard Times”. He sat throughout the play, dark glasses on, captivating the audience with his lines, mesmerizing us beyond belief. His Kings were memorable, emblematic, unforgettable. The stage was undoubtedly his place in the world. He belonged there, he felt at ease. In “Hamlet”, (Act I, Scene 5), the Ghost says: “Adieu, adieu, adieu! Remember me”. Paraphrasing Shakespeare, we tell you: “Adieu, adieu, adieu, Alfredo Alcón. We’ll always remember you”. For ever.