Why do you say you have come to rescue the dead?
Because I was born All Saints' Day and feel I have to do something so that the memory of special missing persons is not lost. And that is that Remigia Etxarren, Queen of Arga, is now more alive than ever, after 171 years of his birth.

I am also rescuing many people who have suffered a great deal with Oblivion Flores, not only from Circo Anastasini, but also from thousands of people retaliated in the war.

How did it start in the performing arts?
I've always been pretty unstoppable. School didn't satisfy me. I've always been dyslexic and I've had a hard time reading and writing. Artists have another kind of intelligence. Our brain understands the world differently. Since I was very young I had an artistic concern and at 17 I met the members of Banda Teatro who work in the theatre and circus. I first approached Malabares and circus techniques at the Circus Oreka School and then immersed myself in the theater at the Theatre School of Navarra. I've always been interested in people and the social sphere, and so, at the same time, I did Social Work studies. I worked as a sociocultural animator before I devoted myself to theater. I've always had the feeling that maybe I started too late in the circus. How sad to have to sit all the time in a class for the best years of our body!

I'm very clown and in the circus world clun is what I love the most. I firmly demand this figure. The tablate is one of the few places where you can feel free. You can do whatever you want and say. It is an area of freedom.

What was the sudden fall in love with Remigia?
I premiered Cabaret Paranormal in 2017. I put money, energy and love in that job and it went very well. Then I prepared a job called Eo, but the pandemic came and it was a catastrophe. I try that strange time to find Remigia. Her story has been kept alive by mouth communication and I have known her for a long time. When I was in circus school, for example, they paid tribute to that funambulist. He was a madman, a pioneer. He was a contemporary of Sarasate and Gayarre and although he became the most sought-after circus artist in Europe, he is unknown only because he is a woman.

I get chicken grains when I talk about it, even today.

Who was it?
Remigia was born in Pamplona in 1853. He was a funambulist, and as a young man, he started working on the wire. In the Sanfermines of 1882 he crossed the bullring from one side to the other. The following year, in 1883, he crossed the Arga River of Pamplona over a thin thread and so they called it the queen of Arga. Mademoiselle Agustini toured the whole of Europe and this is officially called the gateway over the Arga, as I proposed in the premiere of the work.

Pandemic Remigia gave me a sort of whiplash. When I saw ten months left for the centenary of his death, I thought this was the best time to do something. I started researching. In the Municipal Archive I found letters written by him, I went to a graphologist to analyze his letter, I talked to historians and antiquarians and one of them told me a very nice story: in his day almost all the chained of Pamplona were called Remigia, because as he walked on the rooftops. That's how my show starts. This has been kept alive thanks to the people.

I found valuable information in the work of historians Paco Roda and Ana Diez de Ure, and recently a photograph of him, made 140 years ago, has been very successful, because in the end we have been able to put our faces. During this time he has remained in the dark and as a result he has come to this day. It was discovered in Zaragoza by historian Javier Azketa. It's a kind of business card that picks up the big feats of Remygia.

What was it like?
I was crazy. The dangerous chair, the dangerous Mesa and the dangerous Bermut made numbers on the rope, fired revolver, put a bag in the head in the cecum session of the Alps and made crazy, without networks or safety tools...On 27 March the photo was made that appears and unknowingly, that day we published the book. I am proud that Remigia sends me signs. I've lived a lot thanks to this woman. From the street they call me Remigia and I come back. I don't know if I'm Estefanía or Remigia.

How did he finish his career as an artist?He had a golden age of
ten years until he suffered an accident in 1892. He ended up selling lottery on the street, very precariously. When I looked at the census, it looked like a beggar. When you're a star everyone loves you, but when you come in decline nobody. It's true that he had a man who didn't suit him next to him and brought him into ruin, but I don't want to get into that, because it seems that you always have to talk about men in the stories of women, and I just want to tell the life of Remigia.

And how does the new character Forgetdo Flores emerge?
After a ceremony of the Queen of Arga in Barañáin, historian Paco Roda told me about the Circus Anastasini.Los hairs got stuck and at that very moment I knew that the Circus Anastasini would be part of my life. I started researching and searching for information. I contacted the three historians who have been working on it for ten years: Maria José Sagasti, Jesús Nieto Eme, and Javier Ayape. When all of this came to my ears, I felt I had to do something as a circus artist. In our house the great-grandfather disappeared in the war and we missed it. I found it interesting to relate the story of my blood family to that of my circus family. The great-grandfather appeared in a common tomb of Monreal and was able to meet her by golden teeth. Those of Circo Anastasini were not here, and nobody looked for them. I wanted to pay tribute to those who went and to those who stayed here, because there is always someone in pain. It seems very nice to me that Forget Flores makes a song to sleep them to rest forever. The pain still alive in many families is terrible.

What happened to this circus?Circo
Anastasini was a large circus of Italian origin working in Lodosa on 18 July 1936. The cirque group of 50 people disappeared without trace, as in a number of magic, leaving a tent, horses and an elephant that drifted in the narrow streets of Lodosa. Many disappeared and it seems they were shot. It is believed that some of the remains found between Larraga and Mendavia are yours. Some managed to flee from Portugal and from there to America. One of the survivors, Renato, then 3 years old, continues today with Florida Circus Anastasini. Her two sons, Giovani and Luciano, came to Lodosa and Larraga on December 4, 2023 and we paid a small tribute to them. They have announced that they would like to return in July 2025 to finish that performance they could not finish in 1936. We visited the Eme Nieto monument in Larraga Memory Park and made a play for them. It was very exciting.

Who is Forgetfulness?
Narrator in a lost object office. It's a metaphor for people who forget to bring flowers. This character is a mixture of Catrina, the death of Mexico, a crying singer mourning for the deaths of others and a white clown with black humor.

Your message is very correct: life is short and from this world we do not have to bring anything, so we take advantage of it.

Performances in a caravan called Marvels of Jupiter?
Yes. From the inside it is shaped like a coffin. It includes 22 people who disappeared from this circus because it was 22. I thought it was nice for the public to enter that closed, narrow space to tell this story. The representation is brief, only 25 minutes. Brief and consistent. A kind of licked.

I have another version to do in bigger rooms, and that's an hour long, because I give more information.

How did you think about fixing that caravan?
This is a tribute to merchants from the fairs of the Riojana town of Nalda. They had a barrack and touched several instruments with some wooden automata, went from town to village until the thromboses became fashionable. His name was The Wonders of Jupiter's Theater. I intend to fill myself with wonderful stories. Forget Flores is the first, but it can also be a travelling movie theater to project other small shows or short films.

He has published two books with the editorial Reykjavik. Satisfied?
Very satisfied. I don't want Remigia and the Anastasines to kill themselves and with those books they become immortal. They are beautiful books, easy to read and full of images. They also have QR connections to bypass several audiovisuals. I wanted to make visible the documents and photographs I have found and the artists who have participated in the creation and their works. The texts of the works also appear in Spanish and Basque, translated by the great writer Nerea Balda. I think it is very important to make all this information available to people. Recently, for example, I have been called from an institute in Pamplona to tell me that they will read Oblido Flores in class because they are giving civil war issues and it has made me a tremendous illusion.
Reykjavik, this new editorial that has now been installed in Pamplona, is a wonder. You have to see the love and taste with which these books have worked.

And from now on?
I am very happy, among other things because I am a candidate for the Max Awards with Forgetdo Flores. The end will be 1 July, but the fact of being a candidate is enormous. In addition, these two works are among the shows recommended by the State Theatre Network, which is very important because it is a kind of giant casting. In fact, there are cultural agents who only program shows with this certificate. They are good achievements.

Do you think of rescuing another death?
It's possible. The National Drama Centre has carried out, together with the Gayarre Theatre, an initiative called Drama Walker to listen to works by local playwrights at different points in the city and I have prepared a work around two republicans who took refuge for six months in the watch of the former Pamplona bus station after the war. In eight minutes it does not give you the opportunity to tell too many things, but as I have researched so much on this subject, I think I will have the opportunity to do something in the future. I think that will be my next story.