With a career spanning over 30 years, Mariana Gajá has become one of the most respected actresses of her generation. Her path began in childhood and was later shaped by formal training at UNAM’s prestigious theater school, CUT. Since then, she has built a diverse body of work across theater, film, and television, always guided by instinct, discipline, and emotional depth.
Known for her roles in productions like ¡Feliz nuevo siglo, Dr. Freud! [Happy New Century, Dr. Freud!] and No quiero dormir sola [I Don’t Want to Sleep Alone], Gajá approaches each character with honesty and heart. She sees theater as a space for reflection and social transformation, and balances her artistic life with motherhood, therapy, and spirituality.
Committed, thoughtful, and fearless, Mariana Gajá continues to explore the human condition—onstage and off—with remarkable clarity and compassion.
You have a long career in acting. At what point did you feel that art was your path?
Mariana Gajá: Since I was very young, I was always drawn to the stage. I must have been 6 or 7 years old when my maternal grandmother took me to my first audition, for a telenovela called Vanessa. I played Lucía Méndez’s daughter. Then I joined the children’s acting school at CEA, but in 1986 it was closed due to the World Cup, so I moved into theater with Héctor Azar at CADAC in Coyoacán. After that, I did some music here and there until I arrived at my beloved CUT at UNAM, the beautiful school where I trained as a professional actress.
You performed in more than 50 plays since 1998. Was there a production
that redefined your acting approach?
MG: Without a doubt, ¡Feliz nuevo siglo, Dr. Freud! and the Siglo de Oro Español works I’ve been lucky
enough to perform in. Freud was a challenge because of the incredible
cast and the complexity of the character. And the Siglo de Oro is marvelous—it
requires a lot of discipline, but if you fully commit, it frees you and always
teaches you something.
How was the experience of playing a character in No Quiero Dormir Sola, the film that earned you an Ariel nomination?
MG: I built Amanda together with director Natalia Beristain and alongside Adriana Roel, my co-star. We did table work, analysis, and built the bond between them. Then I let myself be guided, trusted the director, and followed my instincts.
With such a rich audiovisual career, how do you choose which projects to accept today?
MG: I feel very fortunate. I generally like the projects that come my way. By now, people more or less know what kind of actress I am, so the decision is easier. But basically, I follow a rule of three: cast, direction, and script. If two of those three are solid, I’m in. For example, if the cast and direction are great but the script isn’t, I might still do it. That’s my rule of three.
Between Pancho Villa and Una Mujer Desnuda presents a strong gender debate. What did this play reveal to you about femininity and masculinity in society?
MG: This play premiered over 20 years ago, and I think the feminist discourse was just beginning to emerge in a visible way. But 25 years later, I can say that fortunately, women are in a different position now. There’s still work to do, yes, but we are in a much better place than we were decades ago. And I think men have also shifted. They’ve made space for us—spaces we’ve long demanded—and that’s led them to reflect on their own masculinity. I believe this play is still very relevant today. The topic must always be revisited, not just in Mexico, but in all societies. Patriarchy is deeply rooted and must be confronted—and what better way than through comedy? Humor helps us reflect and see ourselves in it.
In Lobos Por Corderos, you face an ethical dilemma. What kind of storytelling do you think theater needs to explore today?
MG: The ethical and moral dilemma in the play is a personal reflection for each audience member. I think theater is free; it opens up new paths and evolves as society does. Its narratives change accordingly. We just need to stay aware and do it with love, dedication, and passion.
How did you approach building that grieving mother facing such an intense ethical dilemma?
MG: She’s still a work in progress. My character is difficult, perhaps ethically and morally questionable, but I can’t judge her. She has her reasons, and I defend her. I believe characters are always evolving.
What do you hope the audience takes home after watching the play?
MG: A reflection on life and death, loss, and the values that currently rule our capitalist societies.
Do you believe theater still has the power to transform? Why is it still important?
MG: Absolutely. It’s one of the most powerful transformative forces I know. It will always be important because it mirrors and reflects the times we live in.
What does it mean to you to be considered one of the most solid actresses of your generation?
MG: Really? Well, that’s awesome! Thank you. I just really enjoy what I do, and I do it with love, respect, and joy—a lot of joy. I hope to be a guiding light for future generations.
How do you balance your public artistic life and your private self?
MG: Honestly, I’m not that public. I try to always be the same person. But if you ask me, my private life, my daughters, and my family will always come first.
Art demands emotional openness. How do you cope with constant vulnerability?
MG: Therapy. I never stop therapy. To be a good actress, you have to try to be a good person first, and that means working deeply within yourself. Dig into your fears, insecurities, prejudices... and keep going. It never ends. And if there’s room for spiritual strength, then therapy and spirituality together.
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