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Later in the decade Díaz de Mendoza switched to [[Madrid]]'s [[:es:Teatro de la Comedia|Teatro de la Comedia]] where she shared the stage with [[Alberto Closas]] in "[[:es:¿De acuerdo, Susana?|¿De acuerdo, Susana?]]" (1955)<ref>{{cite web |url=http://hemeroteca.abc.es/nav/Navigate.exe/hemeroteca/madrid/abc/1955/04/10/040.html |title=Crítica del estreno de ''¿De acuerdo, Susana?'' |publisher= [[Diario ABC]] |date=10 April 1955 |accessdate=11 January 2016}}</ref> and appeared in "[[:es:Mi adorado Juan|Mi adorado Juan]]" (1956) by [[Miguel Mihura]],<ref>{{cite web |url=http://hemeroteca.lavanguardia.es/preview/1935/06/18/pagina-7/32772379/pdf.html |title=Crítica del estreno de ''Mi adorado Juan'' |work=[[el Diario]] ''La Vanguardia'' |date= 12 January 1956|accessdate=11 January 2016}}</ref> with [[Ismael Merlo]], as well as featuring with {{ill|es|Carlos Muñoz|Carlos Muñoz (actor español)}} in "En cualquier Puerta del Sol" (1956) by {{ill|es|Carlos Llopis}} and in "48 horas de felicidad" (1956) by {{ill|es|Alfonso Paso}}. In 1957 she was in [[:es:La malquerida|La malquerida]] by [[Jacinto Benavente]], a piece which had premiered 45 years earlier, with [[María Guerrero|her grandmother]] heading up the cast.
Later in the decade Díaz de Mendoza switched to [[Madrid]]'s [[:es:Teatro de la Comedia|Teatro de la Comedia]] where she shared the stage with [[Alberto Closas]] in "[[:es:¿De acuerdo, Susana?|¿De acuerdo, Susana?]]" (1955)<ref>{{cite web |url=http://hemeroteca.abc.es/nav/Navigate.exe/hemeroteca/madrid/abc/1955/04/10/040.html |title=Crítica del estreno de ''¿De acuerdo, Susana?'' |publisher= [[Diario ABC]] |date=10 April 1955 |accessdate=11 January 2016}}</ref> and appeared in "[[:es:Mi adorado Juan|Mi adorado Juan]]" (1956) by [[Miguel Mihura]],<ref>{{cite web |url=http://hemeroteca.lavanguardia.es/preview/1935/06/18/pagina-7/32772379/pdf.html |title=Crítica del estreno de ''Mi adorado Juan'' |work=[[el Diario]] ''La Vanguardia'' |date= 12 January 1956|accessdate=11 January 2016}}</ref> with [[Ismael Merlo]], as well as featuring with {{ill|es|Carlos Muñoz|Carlos Muñoz (actor español)}} in "En cualquier Puerta del Sol" (1956) by {{ill|es|Carlos Llopis}} and in "48 horas de felicidad" (1956) by {{ill|es|Alfonso Paso}}. In 1957 she was in [[:es:La malquerida|La malquerida]] by [[Jacinto Benavente]], a piece which had premiered 45 years earlier, with [[María Guerrero|her grandmother]] heading up the cast.


Towards the end of 1957 she returned to the [[Theatre of María Guerrero]] for the premier of "[[:es:El cuervo (obra de teatro)|El cuervo]]" by then the young [[Alfonso Sastre]]. 1958 was a particularly rich year for Díaz de Mendoza, which included appearances in "[[:es:Alta fidelidad (obra de teatro)|Alta fidelidad]]" by [[Edgar Neville]], "[[:es:Tránsito de madrugada|Tránsito de madrugada]]" by {{ill|es|Santiago Moncada}}, "[[:es:Las manos son inocentes|Las manos son inocentes]]" by [[José López Rubio]], "[[The Teahouse of the August Moon (play)|The Teahouse of the August Moon]]" by [[John Patrick (dramatist)|John Patrick]] and "Vida moderna" by {{ill|es|Álvaro de Laiglesia}}.
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De regreso en el María Guerrero a finales de 1957, estrena El cuervo, de Alfonso Sastre y en 1958, que fue un año especialmente prolífico, encabezó los repartos de Alta fidelidad, de Edgar Neville, Tránsito de madrugada, de Santiago Moncada Las manos son inocentes, de José López Rubio, La casa de té de la luna de agosto (1958), de John Patrick y Vida moderna, de Álvaro de Laiglesia. Todas ellas formando pareja artística con Ángel Picazo. Un año después, tras interpretar la versión teatral de La vida en un hilo, de Edgar Neville, se retiró de los escenarios.


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Revision as of 17:06, 11 January 2016

María Carmen Díaz de Mendoza Larrabeiti
María Carmen Díaz de Mendoza Larrabeiti
- with her parents
Born(1927-12-01)December 1, 1927
Madrid, Spain
OccupationTheatre actress
SpouseJosé Beltrán de Heredia
Partner(s)Carlos Díaz de Mendoza
Carmen Larrabeiti

María Carmen Díaz de Mendoza Larrabeiti (born December 1927) is a Spanish theatre actress.[1]

Life

Mari Carmen Díaz de Mendoza was born in Madrid towards the end of 1927. Her parents, es [Carlos Díaz de Mendoza] and Carmen Larrabeiti, who were both actors, had married the previous year. He paternal grand parents were also highly successful in the world of theatre.[1] Although Mari Carmen made one or two film appearances, the focus of her own acting career was the theatre.

She embarked on her stage career in the 1940s at the Theatre of María Guerrero, originally purchased by her grandfather, the theatrical impresario Fernando Díaz de Mendoza y Aguado, back in 1908. In 1944 she appeared in a play based on Dostoyevsky's "Demons", playing opposite es [Ricardo Calvo Agostí].[2] Another early role was in the Spanish translation of "Time and the Conways" by J. B. Priestley, in which she appeared with Guillermo Marín and es [Elvira Noriega].[3] A few months later she transferred to the Teatro Español, in June 1945 appearing in "Hamlet" with Marin and es [Mercedes Prendes].[4]

During the next few years she appeared in "Tres de madrugada" by Claudio de la Torre (1946), "Cuento de cuentos" by es [Joaquín Dicenta (the younger)] (1947) and after setting up her own theatre company, in "Víspera de bodas" by Eduardo Manzanos (1948), in which Milagros Leal and es [Salvador Soler Marí] also appeared.

She was part of the production of En la ardiente oscuridad by Antonio Buero Vallejo, which had its triumphant premier in December 1950 at the Teatro María Guerrero. There were other successes during the early 1950s in the theatre that still bore her grandmother's name, including "María Antonieta" (1952) and "El jefe" (1953) by es [Joaquín Calvo Sotelo],[5] "Berkeley Square" (1952) by John L. Balderston and "Recién llegada" (1953), by Keith Winter.[6]

Later in the decade Díaz de Mendoza switched to Madrid's Teatro de la Comedia where she shared the stage with Alberto Closas in "¿De acuerdo, Susana?" (1955)[7] and appeared in "Mi adorado Juan" (1956) by Miguel Mihura,[8] with Ismael Merlo, as well as featuring with es [Carlos Muñoz] in "En cualquier Puerta del Sol" (1956) by es [Carlos Llopis] and in "48 horas de felicidad" (1956) by es [Alfonso Paso]. In 1957 she was in La malquerida by Jacinto Benavente, a piece which had premiered 45 years earlier, with her grandmother heading up the cast.

Towards the end of 1957 she returned to the Theatre of María Guerrero for the premier of "El cuervo" by then the young Alfonso Sastre. 1958 was a particularly rich year for Díaz de Mendoza, which included appearances in "Alta fidelidad" by Edgar Neville, "Tránsito de madrugada" by es [Santiago Moncada], "Las manos son inocentes" by José López Rubio, "The Teahouse of the August Moon" by John Patrick and "Vida moderna" by es [Álvaro de Laiglesia].

References

  1. ^ a b "Biografía de Mari Carmen Díaz". Telfo Networks S.L., Pontevedra (Biograpfias.es). Retrieved 10 January 2016.
  2. ^ "Ricardo Calvo y Mari Carmen Díaz de Mendoza". Diario ABC. 28 January 1944. Retrieved 10 January 2016.
  3. ^ "El Teatro Nacional y el monumento a María Guerrero". Diario ABC. 25 April 1945. Retrieved 10 January 2016.
  4. ^ "Noticias teatrales". Diario ABC. 30 June 1945. Retrieved 10 January 2016.
  5. ^ "Anoche fue estrenada en el Teatro María Guerrero la comedia dramática de Joaquín Calvo Sotelo "El jefe"". Diario ABC. 6 March 1953. Retrieved 11 January 2016.
  6. ^ "Anoche se estrenó en el María Guerrero Recién llegada, de Keith Winter". Diario ABC. 14 May 1953. Retrieved 11 January 2016.
  7. ^ "Crítica del estreno de ¿De acuerdo, Susana?". Diario ABC. 10 April 1955. Retrieved 11 January 2016.
  8. ^ "Crítica del estreno de Mi adorado Juan". el Diario La Vanguardia. 12 January 1956. Retrieved 11 January 2016. {{cite web}}: Italic or bold markup not allowed in: |work= (help)
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