“These years we come out of one and another worse one comes; It’s like an American series.”

The actor and comedian Goyo Jiménez is known for his monologues in which he parodies topics of American culture. At 9:00 p.m. tomorrow he will be in Palexco with the last one, Aiguantulivinamérica 3.

What is the leitmotif?

It is based on the fact that we are living near the end of the world: if they are not pandemics, they are wars or climate change, and the joke is that we need the Americans to save us from this.

Black humor, then. Should we laugh at what is happening?

Now more than ever. We leave one and another worse comes: it’s like an American series in which the writers no longer know what to invent to keep us in tension. It’s not dark humor, it’s necessary humor. Most of us are in a situation of helplessness and uncertainty that causes sustained stress. Laughter was once necessary, but now it is essential to survive. If we don’t let go of the tension, we’re going to crash. Letting out a laugh helps a lot, it’s no longer therapy, it’s survival.

Most of his audience hasn’t traveled to the United States, but he understands all the references.

My references are not from the real United States, but from the fictional United States, and this is homogeneous in Galicia, Albacete and Costa Rica. Reality and Instagram have nothing to do with it; The United States and its fiction are similar, but that idealization of courage, tenacity, patriotism, is hard to find on a day-to-day basis.

But we know them.

We laugh a lot at the American clichés, but we go with jeans and their sneakers, we eat their hamburgers and their pasta. It is an idealized culture, but the one we end up liking. For many years we understood the world and globalization through its culture. Now it seems that the rest of the world is influencing, but everything goes through their filter. To succeed you have to go there.

He was on tour in the United States this year, on Broadway. As was?

The experience was wonderful. It has been the prelude to what we hope will be a long tour in the United States: there are many Spanish-speakers and we have a huge audience. Tickets sold out right away, we did more shows. And with the democratization of technology, one can be known on the other side of the planet. We have gone to New Zealand thanks to the Internet.

After visiting other countries, is Spanish humor particular?

No. I’ve just done two seasons of A country to laugh at, talking to comedians of all persuasions, and I can say that we’re living in a Golden Age of comedy. There is a huge number of comedians, and with a lot of quality. We have accents, idioms, but the mechanics are the same and we laugh at the same thing: at Western nonsense, at human absurdity. With a Galician accent or Castilian accent.

In A Country to Laugh at, he spoke with comedians from A Coruña and Galicia.

Piedrahita, Carlos Blanco, David Amor, Rober Bodegas, Carolina Iglesias, Teté Delgado… The Galician character is the one that most resembles the most precise definition of humor. This feeling that one thing is being told to you while the opposite accent is being used, the famous retranca, is in Galicia. Telling you yes while telling you no is humor: squeezing your meninges so that you end up saying, what a bastard!

He participated in outreach programs such as Órbita Laika and El condenser de fluzo.

Culture is the basis of the fundamental development of my work. I have studied physics or biology in a self-taught but intense way: I really like primate ethology to see what remains of them in us. And I have had a crush on history since I was a child.

You have also done dramatic work. Does it help comedy?

I have directed, written and acted in very different projects, from La Fura dels Baus to the Classical Theater Company. Having been orthodoxally trained is a luxury for me: after all, what you do is a show, with dramaturgy, staging… Everything I do is controlled, it has a crescendo.

“These years we come out of one and another worse one comes; It’s like an American series.”