Wikipedia says you were born in 1979 and started working in the theater in 1999. What happened during those 20 middle years? What do you remember?

I remember being my only daughter. I had friends, but at the same time I spent a lot of time playing alone.

Beating with the imagination?

Of course, he did a lot of it. When I played at home, I was always alone and I was riding great things. For example, I imagined I had animals on the balcony. I remember playing a lot. And when I didn't like the outside, I would go into that inner world.

How did you decide to study Fine Arts?

I told my mother that I wanted to study Dramatic Art, that she told me it wasn't a career, and then I started. Art… Art… Fine Arts. And like that, it was in Bilbao, so it's already there. In the first year of a career, a friend told me that they were going to do a theater course in the UEU and I went straight to it.

Did you know it was your way?

Despite having studied Fine Arts, I had an eye in the theater, but I wasn't conscious, I was instinctive. When I started doing theater, I didn't know that I was going to choose theater as a way of life.

And what happened in that theater course?

[Ander] The course was taught by Lipus, I didn't know. I went and there I saw the hair dyed in various colors… I didn’t want anything else! I gladly entered into giving it all. I had something there, waiting for it to come out, I didn’t really know what it was, but I was there and when the opportunity came... bum! It broke out.

Shortly afterwards he entered the Imaginary Theatre.

In the course I met Lipus, I found out that he was in Bilbao, and as I was also studying there, I told him that if they did something, they would tell me. I followed her. In 1998 they held the first workshop, I signed up in 1999, and in that year we did 8 poetic olivetti, Antzerkiola's first work as a large group.

What did the Theater give you?

That was my school. The dynamic of this theater company was that if you want to do something, do it, don't wait for someone to call you. I started on that later, I needed a few years to take confidence and really feel like it, but in the group I saw the process of creation very closely: how music was being created, text…

How to do a theater play.

Yes, absolutely. In addition, we created the cooperative, and that's given me incredible training, I've been an actor, a production assistant, an office assistant -- ten thousand things. I met the trade.

Was it also a school from the point of view of playwriting?

Where you fall, what you bring with you can fix, cut or underline. I'm very physical in myself, and that got a lot of strength in the theater. Importance was attached to physical work. The stories we told, fortunately, they didn't have classic dramaturgies, and I started telling stories in an unconventional way. It's been given to me by theater. Conventionality does not seem bad to me, but we worked as a team extraordinary characters, broken bodies, ugliness… It was a great pleasure.

But it's over.

Yes, it ended in 2007. Then we met to do another theater play, but we didn't continue with the group dynamic. The end of the theater was a pretty powerful turning point. I was there very protected, I was part of something for many years, and suddenly it's hard not to belong to anything. It's been one of the toughest things in the career, but it's also essential to grow, like flying from family protection. I'm sorry. So I did Stereo.

Did you feel the need to do something more of yours?

In the theater the writer was Jon Gerediaga, Aitor [Agiriano] made music, often directed by Lipus… Creative processes were intense and beautiful, but I also wanted to ask myself what I wanted to tell and tell. You also make stories of others, but I had the passion to assume the role of creator. Stereo [theater play] was to start looking for my voice, to be more aware of my abilities, to feed me as a creator... It is a pleasure to be able to share your questions with the public, and not only to be the one that makes the ideas of others a reality.

And then television. First Martina and then, of course, Goenkale.

At Martina we were Lipus and I, the landscape hadn't changed that much. It was a small group, all very close, we were satellites inside TV. Goenkale was something else.

Another milestone?

Yes, it's terrible. When Goenkale arrived I was very tired, I was walking for four or five plays, a little bit of money… The dynamics of that time did not make me happy. I wasn't clear why. But something didn’t work well, and then came Goenkale, something I hadn’t done until then… Symbolically it was an opening, a change, and that’s what I needed in life. In Goenkale, I met a new circle, I met more actors, different ages, a thousand ways of living the trade. As if I had opened the windows. And in fact, I didn't have that relationship with the product, but it brought me a lot of things.

Who were you?

Nun [laughs].

And what?

I was very good at doing Stereo, by contrast [laughter]. It was a lot of fun, we were going with the habit at the Zumaia Convent. It's an amazing experience, you don't live otherwise. Great trip.

Another unpleasant thing that I would like to bring up is related to television: you were boycotted by the statements made in the Euskalduna naiz and zu programme. It's been a year and a half since. How are you?

It's one of the most surreal experiences I've ever lived in my life. In his day it was very hard, very rare, I didn't expect it. I've left him with my partner, or I've taken him away from my friends, the people around him have died, and I know what those duels are, but I've never lived him in my flesh. It was an attack, but not a physical attack, but a virtual attack, and it was very rare for it to be managed. Today and here I can say that it was a very hard experience and that I would not want it to happen again, but now, after a long time, with everything I have learned and I have been able to give a place to this, because I have admitted that this is part of my biography and that this also makes me, I do not want anyone to take it away from me. Do you understand me?

Somehow you have integrated it...

Yes, absolutely. From day one. It happened to me, it brought a study, it taught me context and another 10,000 things.

Have you said that it was virtual, that it has had other consequences?

The most serious consequences were attacks on social media, because it's very heavy to read so many messages in that tone. But in a moment, you look the other way, and it's enough. Many times I've been asked if it's brought me work consequences. I guess there will surely be some, but now, for example, the film will be made The Legacy of Bones [second part of The Invisible Guardian], and I have been called back. The truth is that life is very crazy, but I'm an actor, I love that character a lot, and after a thought, I'm going to move forward with a desire.

By the trade, it brought me two things: I realized that the career of actor could suddenly end, and I realized that life is much more than being an actor: I became aware of that panoramic view. And in the same way, I thought, here and now I'm an actor, and period. See, at that time a casting was made in the Arriaga for the work Obabakoak, and I was eager to participate in the play. All that had given me an extraordinary strength, it seemed to me that nothing had to be stronger than him. Do you know, when a hard thing happens to you, how does it give you room? That's right. Then, it's a shame, because we forget it.

Now, once again, you belong to a theater group. The Kamikaz collective consists of Amancay Gaztañaga, Erika Olaizola and the three.

It was nice because when we were with Stereo, we made a meeting point between three girls. In 2013, I came to San Sebastian and I knew people, but not so much. Then I met Erica. Goenkale provided me with very good friends: Eneko [Sagardoi], Erika… We got together the two, because a kind of falling in love turned on, as if the two of us had left the same chapel. There we started doing a brainstorming, what we would count, a theater, anything… And then we met Amancay through Uxue [Alberdi]. So he marched from Kamika. We made an atmosphere of flies, starting from a book by Uxue, with very few bowls, and now we're creating the Kaffkä theater play.

You said it and I will stress it: the three are women.

I'll tell you: nothing is chance. That's it. At that moment I don't know how much awareness we had of looking for it, but I'm clear that at that moment the body asked me for it. Yes, yes, yes. Sisters. A lot of it.

Next year, in 2019, it will be twenty years since it will start working as an actor. Half life.

Yeah, listen. I realized this during my holidays in Mexico. In August it's my birthday and suddenly it came in the shower: the following year forty, and the following year twenty actors. Half life? I'm flirting, what do you want me to tell you.

How did I get here?

Completely. How I got here. You can put it that way.

What is bigger, tighter or more appetizing?

I have felt the two with the trade, love and hate, but the truth is that here and now I am excited to look back, because I see there has been a very intense road: I have had a lot of moments, some very beautiful and others very hard, I have many friends, I have found very important people, I have spent very hard moments with other friends… And the trade has made me. I remember there was a time when I saw it very clear, that if I wanted to keep growing as an actor, I had to keep growing as a person. It's been a road of all colors. Everything has been. And I'm thrilled. And I also like it's been all, I think it's very real. And I also see that there's been a great handover and that it's all the time, and it's very nice, because there are many ways to be an actor, but I always keep looking and checking the way I am.

And in terms of economic conditions, how do you see the future?

It's scary. I try not to look too much at that, because it is true that it goes very long, our work is often very precarious, and it is often thrown away from the minimum salaries of the convention, and the minimums are very minimal, and one thing is that there is a minimum wage in the convention but listen… we cannot stay to the minimum at all times. It's a matter of dignity.

When I recently thought I was going to be 40 years old and I'm still an actor, I was scared in that sense. With 60, will I also be an actor? And in old age? And economically? I try not to think too much about it, because you also see some hard realities, but… what if not? Like when I was 20 years old, I was asked what I was going to be when I grew up and I didn't know. Here and now, actress. It's true that it changes a lot, all of a sudden you make a movie or you participate in a series and you have a very bad source of income, and there you are quieter, but then you have another time when you have no income, and then you spend your nights biting the mattress.

There's no security.

I believe that in general there is no security in life, but it is true, for example, that some of my friends have a fixed job, EUR 2,000 a month, and I think: What does that have to be? You can save, you receive it every month… Jan. I believe that for this profession we must be very courageous and also a little unconscious.

Is it possible otherwise?

Think about the moment. And it's going to fix it. It's over.