María Padín

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María Padín
María Padín.jpg
1958
BornSeptember 15, 1888
Montevideo, Uruguay
DiedDecember 21, 1970 (aged 82)
Buenos Aires, Argentina
NationalityUruguayan
OccupationActress, producer
Spouse(s)Arturo Mario
Parents
  •  [es] (father)
  • Eulalia Mendizábal (mother)

María Padín (September 15, 1888 – December 21, 1970) was a Uruguayan film, radio, and theater actress and producer who had a successful career in Argentina.

Career[]

The daughter of circus actors  [es] (the clown Padín el 77) and Eulalia Mendizábal (trapeze artist), María Padín had a sister from this marriage named Aída Padín, who would later marry Francisco Aniceto Benavente and give her a nephew, Saulo Benavente, a painter, illuminator, and scenographer. After her parents separated, Manuel Padín married the Uruguayan actress Máxima Hourquet, giving María seven half-siblings (one of whom died a young child), including the first comic actress and vedette Margarita Padín, and the young figures  [es] and  [es]. Her sister-in-law was the actress Raquel Oquendo.[1]

María started working as a professional actress in 1905 with the  [es], and later also worked in radio and television. In radio, she was the first actress of the Radio-Teatrales Argentinas companies of Ricardo Migueres and Ricardo Bustamante.

Her appearance in cinema occurred very early, starring alongside leading figures of the golden age of Argentine cinema, including  [es], Azucena Maizani, Floren Delbene,  [es],  [es],  [es], Santiago Arrieta, Homero Cárpena, Pedro Aleandro,  [es], and Domingo Sapelli. In Chile she acted in several historical silent films with her husband Arturo Mario as director.[2][3]

In addition to her career on the big screen, Padín had several roles in theatrical revues. She worked for Pablo Podestá's company, directed by  [es] and with  [es] and  [es]. After this dissolved, she settled for a few years in Chile and returned to form her own comedy company with advice from Dr. Oscar R. Beltrán. Then she joined her husband's company, called "Mario", which was made up of the actors  [es], Ángeles Arguelles, Rosa Martínez, Julio Scarcella, and  [es]. With this company she toured locations such as Valparaíso, Mendoza, and Lima.

In 1946 she joined the list of The Democratic Actors Grouping, during the government of Juan Perón, whose board of directors was composed of  [es], Lydia Lamaison,  [es], Alberto Barcel, and  [es].[4]

She was a great friend of the actress Herminia Mancini, sister of Julia Mancini, with whom she worked in theater.

Personal life[]

Padín was married to the Italian actor and theatrical and film director Arturo Mario, with whom she moved to Chile in 1917, starring in several of his films.[2][5]

Filmography[]

  • 1915: Nobleza gaucha
  • 1917:  [es]
  • 1917: El fusilamiento de Dorrego
  • 1918: Todo por la Patria (or Jirón de la bandera)
  • 1918: La avenida de las acacias
  • 1920: Manuel Rodríguez[6][7]
  • 1939:  [es][8]

Radio[]

  • 1939: Daniel Aldao, el valiente, broadcast by  [es], headed by  [es], and featuring  [es], Lucía Dufour,  [es], Carlos A. Petit,  [es], and  [es]

Theater[]

  • Los espantajos (1915), by  [es]
  • La viuda influyente (1915), by Belisardo Roldán
  • Los paraísos artificiales (1915), by  [es]
  • La novia de Floripondio (1915)
  • Silvio Torcelli (1915)
  • La suerte perra and Crisis matrimonial, by Casals
  • La vuelta de Braulio (1915)
  • El zonda (1915)
  • El rancho de las violetas (1915)
  • Barranca abajo
  • Cataplasma, by Enrique Buttaro
  • El tiranuelo, by Pedro B. Aquino y Misia
  • Pancha, la bava
  • Luz de hoguera[9]
  • Entre gallos y medianoche, premiered at the Teatro Nuevo[10]

References[]

  1. ^ Zayas de Lima, Perla (1990). Diccionario de directores y escenógrafos del teatro argentino [Dictionary of Directors and Scenographers of Argentine Theater] (in Spanish). Editorial Galerna. p. 45. ISBN 9789505562503. Retrieved 20 December 2017 – via Google Books.
  2. ^ a b Rist, Peter H. (8 May 2014). "Chile". Historical Dictionary of South American Cinema. Rowman & Littlefield. p. 142. ISBN 9780810880368. Retrieved 20 December 2017 – via Google Books.
  3. ^ Wolf, Sergio (1994). Cine argentino: La otra historia [Argentine Cinema: The Other Story] (in Spanish). Buenos Aires: Letra Buena. p. 14. ISBN 9789507770487.
  4. ^ López, Marcela; Kogan, Gabriela (2007). Quiera el pueblo votar: imágenes de un siglo de campañas políticas [The People Want to Vote: Images of a Century of Political Campaigns] (in Spanish). Editorial Del Nuevo Extremo. p. 87. ISBN 9789876090568. Retrieved 20 December 2017 – via Google Books.
  5. ^ Iturriaga E., Jorge (2006). "Rentabilidad y aceptación. La imagen de Chile en el cine argumental, 1910–1920" [Profit and acceptance. The image of Chile in fiction cinema, 1910–1920] (PDF). Cátedra de Artes (in Spanish) (2): 78. Retrieved 20 December 2017.
  6. ^ Bongers, Wolfgang; Torrealba, María José; Vergara, Ximena, eds. (2011). "'Crónica cinematográfica'". Archivos i letrados: Escritos sobre cine en Chile: 1908–1940 [Archives and Letters: Writings About Cinema in Chile: 1908–1940] (in Spanish). Cuarto Propio. p. 203. ISBN 9789562605878. Retrieved 20 December 2017 – via Google Books.
  7. ^ Ossandón B., Carlos; Santa Cruz A., Eduardo (2005). El estallido de las formas [The Outbreak of Forms]. LOM Ediciones. p. 233. ISBN 9789562827782. Retrieved 20 December 2017 – via Google Books.
  8. ^ "María Padín" (in Spanish). Cinenacional.com. Retrieved 20 December 2017.
  9. ^ Podestá, José J. (2003). Medio siglo de farándula: memorias [Half a Century of Show Business: Memories] (in Spanish). Editorial Galerna. p. 177. ISBN 9789505564453. Retrieved 20 December 2017 – via Google Books.
  10. ^ Zayas de Lima, Perla (1990). Diccionario de directores y escenógrafos del teatro argentino [Dictionary of Directors and Scenographers of Argentine Theater] (in Spanish). Editorial Galerna. p. 187. ISBN 9789505562503. Retrieved 20 December 2017 – via Google Books.

External links[]

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