Mayra Batalla is a talented Mexican actress whose career is defined by her deep respect for the craft of acting and her commitment to portraying the richness of Mexican culture. From her formative years at the Casa del Teatro, a prestigious theater school founded by renowned director Luis de Tavira, to her advanced studies in vocal performance and choreographic theater in Paris, Batalla has continuously sought to push the boundaries of her artistry.
In a recent interview, Batalla opened up about her experiences studying with Luis de Tavira, her dedication to the art of performance, and her perspective on the evolving landscape of Mexican cinema. She shared insights into her transformative experience working on Noche de Fuego (Night of Fire), a film that brought her international recognition, and discussed the immense honor and responsibility of playing a character in Pedro Páramo, one of the most iconic works of Mexican literature, which is now streaming on Netflix.
Throughout the interview, Batalla emphasizes the importance of creative freedom and the sense of play that comes with her work as an actress. She reflects on how acting can offer more than just entertainment—it can be an invitation to explore human emotions and tell universal stories that transcend borders. Despite the challenges and pressures of working in a highly competitive industry, Batalla remains deeply grounded in her values and focuses on the elements she can control: her dedication to each role and the way she connects with her audience.
Photographer: Juan Bautista
Stylist: Salvador Ramirez
Hair: Erick Moreno
Makeup: Ale Romua
PR: @jandf_pr
You were born in Álamo, Veracruz, México and studied acting at the Casa del Teatro. How was your experience studying with Luis de Tavira?
Mayra Batalla: Studying at the Casa del Teatro, a school founded by Luis de Tavira, was definitely a before-and-after moment in my life. That’s where I was educated, or rather, where I had my introduction to acting. From the very beginning, it was about absolute respect, the ritual, going deep, and self-knowledge. That was the starting point, and those are the pillars that, even today, continue to be fundamental when it comes to interpreting, building a character, and getting involved in any story. If I learned anything, not just from Luis de Tavira but from all my teachers, it is that acting is a very serious task—very fun, but requiring absolutely all my commitment, courage, affection… everything from me. That's why I feel very fortunate; I feel I had a great start, a very thorough preparation, and that this preparation continues to affect me. Even today, it still permeates my career.
In addition to your training at the Casa del Teatro, you also specialized in vocal performance with the Roy Hart technique and in choreographic theater in Paris. How have these specializations impacted your work as an actress?
MB: Well, I actually did that specialization right after completing my acting studies at the Casa del Teatro, which was a very formal approach. For me, studying the Roy Hart technique and physical theater was like appealing entirely to freedom—the idea that not everything has to be perfectly clear or have a defined beginning and end. Instead, it was like when you open the door for your little dog and he runs out, happy. For me, it was that—a reminder that acting is a game, and it can take many forms.
Do you think acting can be a form of social activism? How do you see the impact of the stories you tell?
MB: Can it be? Yes! Must it be? Not necessarily. Regarding the impact of the stories I tell, I have to confess that I am very respectful of that. I mean, I don’t believe... I don’t know, for example, when I’ve told stories about disappearances, to be very honest, I don’t think a film can change the reality of someone living through that. It would seem very arrogant to say it achieves that purpose. Does it have an impact on the people who watch it, raise awareness, or make them realize certain things are happening? Yes, but I would leave it at that.
How do you handle the criticism and pressure of playing characters that carry significant plotlines?
MB: Regarding the pressure and criticism of my work, I don’t pay much attention to it because I’m clear that it is something that doesn’t belong to me. It’s the opinion of people over whom I have no control, and well, tastes vary. I’m grateful to those who appreciate my work, but that doesn’t belong to me either. I don’t think about it much; I focus on what is within my power, what is in my control, which is to propose a way of interpreting the character, but nothing more. I mean, it’s clear to me that my work will generate a reaction in the audience, yes, but when I’m in the moment of performing, I’m not thinking about what they will think. I simply give myself fully, and in the best-case scenario, I hope the audience feels something through my interpretation.
What did it mean for you to see Noche de Fuego (Night of Fire) screened at the Cannes Film Festival? How did you feel being part of one of the most important film festivals in the world?
MB: Being in Cannes with Noche de Fuego was definitely one of the most special moments in my career as an actress. It was beautiful, magical, truly overwhelming. It was immense to be in that cinema, receiving those comments, those applause, those silences. It was very special. It’s a moment in which I feel very, very honored and grateful to have been part of it. Noche de Fuego is a film that completely changed my life. Working with Tatiana Huezo [film director] is, without a doubt, something very significant for me as a person, because it allowed me to dig deeply into myself, it gave me the possibility. Tatiana gave me a vast space in which I could express myself, show myself, and give part of myself—my heart, my soul—to the story she proposed, which was immense.
In your opinion, how is Mexican cinema viewed internationally today?
MB: I would say Mexican cinema is widely recognized internationally, that we are a very prolific, very present industry, with a lot to say to the entire world. I think we are in a great moment, with many very interesting voices, and there are more coming, also making a strong impact.
Do you think international audiences connect with Mexican cinema? How do you see this connection?
MB: Of course, I would say that international audiences connect with Mexican cinema in some way, without a doubt, and there is a connection because there are universal stories. And on the other hand, there are other stories that catch attention and become somewhat of a fetish, like the themes of the drug trade, which have permeated our cinema for many years, for better or worse. I would also say that we’ve been entrenched in that narrative for quite a while, and I’m grateful that this is changing, that we are now able to talk about other parts of Mexico, a part that is so rich.
I don’t know, unfortunately, the whole issue of disappearances and the drug trade seems to have become our identity, which I don’t agree with. So, definitely, I would say there is a connection in this respect—simply as human beings, who observe each other.
What does it mean to you to represent Mexican culture in your acting?
MB: I feel very honored to represent Mexican culture. I have represented it in different periods and sectors. Clearly, I feel a responsibility in that, but above all, enthusiasm. I feel that I am a great observer of Mexican culture, and I try, to the best of my ability, to bring all of that into my performances.
For you, what is the most important role of art in today’s society?
MB: I believe that the role of art in culture is to bring pleasure to the brain of the audience.
You are currently debuting as Damiana Cisneros in the film Pedro Páramo on Netflix. Tell us, how did this project come to you?
MB: Damiana Cisneros came through a casting call. I was invited, and I knew Rodrigo Prieto was going to direct it. It was a lot of excitement. I prepared my audition, and then came a callback directly with Rodrigo, and we started having a dialogue. It was really a directing process, and from there, there was already a strong connection, a lot of camaraderie between him and me, and I think from him toward me as well. So, it came from a piece of work I proposed, which he liked. That’s how I got here.
The story is based on the famous book by Juan Rulfo, a captivating novel full of adventure and reflection. How does it feel to be part of a project that carries such a beloved Mexican literary story?
MB: Being part of Juan Rulfo’s iconic novel is an honor and also a responsibility. And, in addition, it’s a great opportunity to play, because I want to especially highlight the playful aspect of making a film like this. What Rodrigo proposes to us is to tell this spectacular story, so beloved, so widely read around the world. So, imagine, it’s a great gift, a huge opportunity to give your all—with your heart, with your sensitivity, with your creativity—at the service of my character. It’s completely a huge joy for me to be part of this project, to be able to share with my fellow actors, to be part of a very talented crew, with people who have incredible and spectacular careers, and it’s also worth mentioning that they are extraordinary human beings, personally as well.
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