The articles written by the PÚBLICO Brasil team are written in the variant of the Portuguese language used in Brazil.
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For actress and social activist Úrsula Corona, 42, television can be a tool to promote reflection and social change. But her intervention in society is not limited to her acting career. She founded the Fome de Tudo Institute, which is supported by the UN, which develops innovative projects to combat hunger and inequality.
With a career marked by versatility and internationalization, Úrsula won over Brazilian and Portuguese audiences with her striking characters. Among his successes, he was part of the cast of two soap operas that won the International Emmy, Ouro Verde, in 2017, a Portuguese production shown in more than 60 countries, and O Astro, in 2012.
His first steps on television were taken as a child, on highly successful children’s programs. Over the years, the actress has explored different roles, from lighter characters to complex villains, consolidating her position in the artistic scene. Soon, the actress will return to Rio de Janeiro, to record a soap opera for Rede Globo with the title A Garota do Momento.
In Lisbon, Úrsula spoke to PÚBLICO Brasil.
How important are soap operas in your training?
Art was a tool for transformation in my life. I started on television when I was 8 years old and I was lucky enough to learn from masters like Paulo José, Roberto Talma and many others. I worked with Paulo José Vannucci, Augusto César Vannucci and was part of children’s specials such as A Nave Mágica. This shaped my trajectory. When we analyze the maturity of soap operas, whether in Brazil or in any other country, we realize that each country creates a signature according to its culture. Today, we have more possibilities to consume and share content in different ways, whether through television, streaming, or mobile devices. The soap opera has the role of taking the public to a playful side, and today we can watch whatever we want, whenever we want. This is a big change from the past.
You are part of a new wave of Brazilian actors who came to Portugal. How do you see the contribution of Brazilians to creating the identity of Portuguese soap operas?
I think Brazil has always welcomed the Portuguese, whether through music, like Roberto Leal, or through actors. Many Portuguese people are successful in Brazil. When I decided to come here, I had a stable career in Brazil, but I wanted security and new experiences. I lived in several countries and ended up partially settling in Portugal. When I arrived, there weren’t many Brazilians here. I don’t stay in Portugal all the time, but I have a house and adopted a dog here. I believe that our contribution is more of an exchange of knowledge than teaching something. For example, Brazil is adopting production methods that are used here for resource reasons. We recorded scenes from several chapters in a single day, which requires an in-depth study of the character and the script. This is a challenge, but also very enriching for the actor.
You are the only Brazilian actress to participate in two International Emmy-winning soap operas.
It was hard work, but rewarding. In Ouro Verde, the leading soap opera in Portugal, I played the Brazilian physiotherapist Valéria de Scarpa. She was a very ambitious villain, who wanted to find a rich husband, while at the same time believing that love is just a soap opera. In the remake by Alcides Nogueira and Geraldo Carneiro of Janet Clair’s work O Astro, I played the charming police officer Elisabeth. The heroine was responsible for the investigation that revealed the secrets behind the murder of businessman Salomão Hayalla, leading to the arrest of those involved.
How do you see the representation of Brazilians in Portuguese soap operas?
I’m very lucky, I was very well received here. I came at the invitation of Pedro Lopes, a great writer. He was generous to me, giving me a challenging character in Winter Sun. I feel part of Portuguese society and the work we are developing here. I believe we can bring more of this new cosmopolitan society to soap operas, reflecting the diversity present in Portugal today. We have a diverse audience, including refugees, Russians, Ukrainians, Americans, Italians, French, Brazilians, and this must be represented. The soap opera has the role of portraying society and addressing important themes, offering constructive criticism.
So, do you believe that audiovisual has an opportunity to portray this cultural change in Portuguese society?
Yes definitely. Television has the power to question and reflect the public. When we address a question or a mirror of what we are experiencing, we are able to look at ourselves in a different way and evaluate our standards. We have communication as a great tool and we must use it to promote reflections and changes. Television, whether through traditional broadcast or streaming, will continue to have this strength for a long time.
Speaking about the role of soap operas, you mentioned the rise of Turkish soap operas. How do you analyze the role of Brazilian soap operas here in Portugal?
I believe that Brazilian soap operas have an undeniable technical and artistic maturity, whether in the scripts, cast or production. Turkish soap operas have been successful because they are economical and easy to distribute, but this does not invalidate the quality of Brazilian productions.
In addition to being an actress, you are a presenter and businesswoman. Can you tell us a little about your other activities?
In addition to acting and presenting, I have been a member of 7 Artes Produções for 14 years. We created the production company to develop different projects, such as O Silêncio que Canta, an investigative series about the military dictatorship in the Brazilian Northeast, which was nominated for an International Emmy in 2023. The series was born out of my curiosity about the impact of the dictatorship in the Northeast, something little explored. Conversations with artists such as Alceu Valença and Gilberto Gil revealed impactful stories. We were nominated for an International Emmy and showed the series on the Box Brasil channel.
In addition to audiovisual, you are also a social entrepreneur. What is the Fome de Tudo Institute and what are its projects in this area?
The Fome de Tudo Institute is the only one in Brazil with a global partnership with the World Food Program (WFP), the largest humanitarian agency in the world, providing UN food aid. We work with social technologies, such as anti-food waste systems, impacting more than 20 thousand people daily.
Do you have plans to bring projects from this institute to Portugal?
We are in negotiations to expand our projects here, and we will soon announce the ambassadors.
What is your routine like between Brazil, England and Portugal, with so many different projects?
My schedule is intense, divided between work as an actress, presenter and businesswoman. This year, I spent more time in Brazil and England, with some work trips to Portugal.
What are your future plans in Portugal?
In addition to finalizing the structures of the Fome de Tudo Institute, I intend to return to work here as an actress and contribute more to local culture. I’m going to do a play with the wonderful actor Chico Dias.
You mentioned the importance of understanding where we came from and where we are going. How does this reflection relate to the cultural and social issues you address in your work?
Observing and understanding are essential for any transformation. When we discuss public policy and cultural integration, we are talking about humanity and structural solutions that respect everyone involved, both locals and newcomers. When I started in theater, at age 7, I learned that it is crucial to listen more than talk. This applies not just to acting, but to life. We need to understand our place and our role in society.
How can art, like soap operas, be a tool to explore and question social inequalities?
Art, including soap operas, has the power to make people laugh and reflect on life’s tragedies. It can be a powerful means of addressing social issues and encouraging positive change in society.
