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Roberto Blanco is an indispensable name when constructing the history of the Cuban theater. His very particular aesthetic, how to understand the theater that marked our art from acting, directing, teaching, makes him one of those legendary celebrities. For those, who like me, did not meet the man and did not see his productions, but received his essence through the generation that was formed under his hand in Teatro Irrumpe, he stands as a paradigm. 
Roberto was a controversial artist. He founded his own company in late 1983. After working as an actor and director in Teatro Ocuje, Teatro Estudio and the National Lyrical and after misunderstandings and the “five gray years” in the 70’s, he formed his project: Teatro Irrumpe. For the opening season he premiered Fuenteovejuna, by Lope de Vega, and Maria Antonia, by Eugenio Hernández Espinosa. From that moment on, a mythical era, for all whom took part there are fond and bitter memories, began. They were hard times and Roberto was a director claiming enter a state close to the greatness that can only be achieved by putting the theater above all else, as a first nature rather than human. However, all actors who passed through his company had the hallmark of his theatricality, with a visibility and organization that were ahead of his time. He was both an intimidating and loving man.
El perro del hortelano, by Lope de Vega, was his last production, in April 2001, premiered at the Mella Theatre. "This comedy is for me like an old love from my young years" Roberto wrote on the playbill, and upon completion of the appointment, closed a circle of life.
When he died, in Havana, on December 24, 2002 at half past ten, he had obtained the most important prizes and distinctions that the Ministry of Culture grants. None of this matters when compared with the imprint that his doings left for the history of this country. As he said once in an interview: "Here I am. The rest is theater."