Victoriano de la Serna, the revolution of ‘intransitive bullfighting’

His bullfighting had no transfer or teaching possible. To fight like La Serna you had to be La Serna, said Alameda. Its release was a cataclysm like that of Juan Belmonte.

A unique character in the history of bullfighting. A brilliant artist. A self-taught man who felt the call of bullfighting while studying Medicine. His creative concerns had led him to take an interest in the bull and that is why he participated in a festival that supported the initiative of King Alfonso XIII to build the University City in 1928.Victoriano de la Serna(Seplveda, 1908) he found himself when he threw all the cape in front to fight the vernica to that young bull that changed his life. A way of understanding layering bullfighting that revolutionized its time and that still impacts today. All the flight of the cape and the whole chest of the bullfighter facing, the figure erect and bulky. Low hands in the deep cast. The maximum purity of the Silver Age of Bullfighting.

He left his studies in Medicine in his fourth career, although he practiced during the Civil War as a military doctor in Pamplona, ​​to focus on the bull. On August 27, 1931 he appeared at Las Ventas. It was a shock. His personal capotero style and his unique muletera personality showed him as a complete artist in that Madrid hatching. With 13 novilladas and empowered by the Black Pope, he took the alternative in October of the same year in Madrid from the hands ofFlix Rodrguezand in the presence of Pepe Bienvenida.

The late vocation of Victoriano de la Serna was not the fruit of necessity as he explained: I did not get to bullfight for money or hunger or even desire for glory. Bullfighting has been for me a mystique, the expression of my personality. With that philosophy I interpreted an improvised bullfighting.Martial LalandaHe said that Victoriano fought like the rest of us used to bullfight.

Her veronica was unlike any other.Robert RyanI wrote in your bookThe bullfighting of capa: There are milestones in bullfighting for vernicas, sets that last withforce of mythLiterally counted: the four that in Madrid, in the spring of 1932, consecrated Victoriano de la Serna; four that, as far as the astonishment that they caused, have as paragon the five without amendment of Belmonte in 1913.

“She wears silver, which accentuated the verticality of her figure almost facing the bull with her light (…) Victoriano had the extraordinary virtue of eliminating all superfluous movement from vernica,” wrote Pepe Ortiz.

Pepe Ortiz, the great Mexican creator, goldsmith of capoteras luck, remembered them five years later: Vesta de plata, which accentuated with the light the verticality of his figure almost faced with the bull (…) Victoriano had the extraordinary virtue of eliminating the vernica all superfluous movement. He performed the cast far ahead, moving only his arms and then neither they; in the last time of the cast only with the waist. That miracle atmosphere on the sand was the revolution. Or whatPepe Alamedabaptized as intransitive bullfighting. Because it has no transfer or teaching possible, since in order to carry it out, knowledge of a mechanism is worthless, you need personal genius, the prodigious, non-transferable measure that allows you to stay there, without modifying the terrain. To fight like La Serna you had to be La Serna, Alameda said in his essential workThe heterodox of bullfighting.

His career was marked by his strong character. In 1936, in full conflict with the Spanish-Mexican agreement, he decided to confront the Madrid public who reproached the Spaniards for not fighting with Mexicans. To defend the honor of ours, Victoriano de la Serna confronted the fans, nailed to his knees in front of the bull of Clairac and summoned to let himself be caught by the cry ofLong live Spain!. Domingo Ortega and Manolo Bienvenida stupefiedly attended the scene.

In Villagarca de Arosa he lived one of the most exciting episodes of his life. Surrounded by his gang after the bullfight, Victoriano de la Serna smoked quietly in the hotel hall. As if attracted by a magnetic force, he was magnetized by a look reflected in a large mirror and said: Gentlemen, I just saw the woman in my life for the first time. A young woman of Turkish origin and daughter of a diplomat who was spending the summer with her family in Galicia:Virginia Ernst. And married her. Some time later Victoriano managed to buy that mirror in which love was forged. Garca Mrquez was inspired by this true story to talk about Fermina Daza’s mirror inLove in times of the clergy. The mirror was indeed Virginia’s.

Ruano Llopis was inspired by the task that she gave her on July 25, 1934 in Valencia. In her was born the painting and the passing of flowers. Or vice versa. Llopis immortalized the muletazo from behind with some flowers falling from the line. And the bouquet gave name to the creation of La Serna. In thatSan Jaime FairI tore four of the five runs that make up the serial.

Like so many figures, the Civil War broke his career. He retired in 1944. AVicente Zabala, his son-in-law, confessed to him in the book The Old Colossi of Bullfighting Speak: I did not need to teach the braces to be able to deal with the bulls. That unbridled bull from the 1930s. Marcial also recognized that he pruned more than he said when he was wrong, in the low peaks of his volcanic irregularity.

On May 22, 1981 he ended his existence by his own hand.I followed the path of Belmonte. His precepts in the ring and his farewell in life.

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