If something distinguishes this brilliant Mexican woman, who’s solid in the art of telling stories, is that she lives and Works through a wide commitment with her time, on the margins of the price of fame.
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[eltdf_dropcaps type=”normal” color=”” background_color=””]H[/eltdf_dropcaps]er father was a seaman, her mother a photographer. Dolores Heredia grew up surrounded by stories overlooking a horizon as open as the Baja California Sur shore next to the Pacific Ocean. She was born in 1966 and was the middle child in a family of ten children. That may be what made her adopt this no-fear attitude she carried throughout her adolescent life towards doing theater in her native La Paz and to going to Mexico City to become the renowned actress, producer and activist she is today. She arrived in Mexico City in 1986 to study Drama at UNAM’s Theater University Center and later participated in Sophocles’ Antigone with her theater group El Fauno, directed by Armando García, at the Theater Studies Nucleus and then in Switzerland at the Centro Internazionale di Studi Audiovisuali. In 1989 she made her big screen debut with the short film La otra orilla (1989) directed by Antonio Diego Hernández and, a year later, she joined INBA’s Experimental Theater Center with the play Máquinas de Coser, directed by Luis de Tavira. In 1991, as part of the National Theater Company, she participated in El Viaje de los Cantores, which ran for a season in Mexico City, followed by a national tour and another tour in Spain.
She went back to cinema to star in José Luis Garcá Agraz’s Desiertos Mares (1993), Juan Carlos De Llaca´s En el aire (1995) and Roberto Sneider’s Dos crímenes (1995), for which she won Best Actress at the Cartagena de Indias Film Festival and an Ariel nomination from the Mexican Academy of Arts and Sciences for Best Supporting Actress. Regarding the concept of “theater of the caress”, root, philosophy and style based on acting through empathy with the audience, Dolores Heredia joined between 1994 and 2004 with Teatro Sunil, a company conceived in 1984 and is now named after one of its founders, Swiss Daniele Finzi Pasca. In the first version of 1337 Déjeuner sur l’herbe (1995) and Patria (1996) she became his assistant director and artistic consultant for Corteo, a spectacle created for Cirque du Soleil.
Because of her activist solidarity she travelled to Ethiopia, where she became involved in a theater country that sought to involve the infant population that the war had left orphaned. Having learned new things she directed several spectacles, including Aitestás, for which she won the Sekisano Award for Best Foreign Show in Mexico. Dolores Heredia has participated in over 40 feature films, including her national and international productions. For her work in Santitos, directed by Alejandro Springall, she won a Best Actress award at the Amiens Film Festival and at the 2000 Cartagena International Film and Television Festival. Among her many television roles, she starred in Capadocia: un lugar sin perdón (2008), the successful HBO Latin America series for which she also got a nomination. With Finzi Pasca she founded Poramor Producciones and as a producer, in 2015 she toured through Mexico with La Veritá, a play inspired on Salvador Dali’s Tristan and Isolde, which she staged in theater, dance, music and circus in a spectacle that had international success.
In that same year she became the Mexican representative of the Finzi Pasca Company. Dolores Heredia is a consolidated artist who is always listening; she has a profound social conscience. She’s a woman linked to nature and her activist attitude has her fighting to change problematic social contexts. Since October 2015 she has been the President of the Mexican Academy of Motion Picture Arts and Sciences, a post she’s committed to, aware of the transcendence that implies promoting diffusion, investigation, preservation, development and the defense of the cinematic arts and sciences. With a firm posture and elegant determination, her mission for leading the spirit of the Academy grown through adversity and is humble towards capitalized goals. That is our tributee Dolores Heredia, the girl who learned to make of history a guideline for the common good and of her profession a laudable career to trust the well-being of the national film industry and the defense of creative and labor freedoms of Mexican filmmakers to her.