The eternal gaze of Eusebio Poncela, 'The Indomitable'

I open his WhatsApp and find a message with no greetings: "THE ART OF BEING FREE TO EXIST," a text accompanied by a collage of asymmetrical, fluorescent-colored stripes with his white face split in two: half human, half stone Roman bust in the center, with one green eye and one blue eye. And since I don't reply right away...

-Johnny?

That's what he called me, other friends, and himself. I think it's a good way to describe what Eusebius I, the Indomitable, was like. He undoubtedly mastered the art of being free to exist throughout his life . There, we opened up an endless philosophical debate about how to preserve freedom in this all-consuming industry and the futile art of feeding oneself.

I remember having to replace a character in This Is Not the House of Bernarda Alba in extremis at the Arriaga Theatre in Bilbao, and before going backstage, she grabbed my arm and whispered: “Get out there, and shine, shine!”

He was a star of seduction. “You always have to seduce, from the moment you get out of bed. The driver, the waiter, the head waiter, the manager... until you go to bed,” he said. It came naturally to him, without prefabrication, and that's why he could handle a close-up like no one else , full of mystery, ambiguity, and, at the same time, certainty and depth.

During rehearsals, I have the habit, not always welcomed by actors because it's a highly vulnerable situation, of inviting students as listeners. Eusebio didn't object, but sometimes he'd approach one of them and challenge him: "And who are you?" And the poor student, standing before his idol, would say in a low, halting voice: "I've been here several days, and Carlota introduced us..." And he'd reply: "Don't shout at me, okay!" And without a smile, he'd turn away. It was a kind of exam: he'd rather you jump at his throat without hesitation than hesitation. One of the reasons, I think, why he liked me.

He certainly liked to play, and he almost always scored a goal. His humor wasn't always well-read, and I, in particular, found it very funny. He endeared himself to everyone. He did and said whatever he wanted , but he hated unprofessionalism, and he was an example of punctuality, commitment, and discipline. He demanded and pushed you to make you grow, and to grow himself. But if you didn't want to... you didn't want to.

He was a lover of landscapes and travel. Although he ate little, he loved visiting restaurants and almost always ordered croquettes. He loved reading and going to the theater. He was very independent, but he loved being with artists, talking, and provoking. He knew how to listen and read between the lines with extreme sensitivity. He was very generous.

I will keep his magnetic appeal, his unwavering support, his energy, his vitality, his strength, his charisma, his endless laughter, his teachings. And I am grateful for having lived through his life. Rest in peace; here you leave your eternal gaze and your deep voice.

Carlota Ferrer is a stage director and actress. She worked with Eusebio Poncela on plays such as "Kiss of the Spider Woman" (2022) and " This Is Not The House of Bernarda Alba" (2017).