Lorena Vega: Cultural Activism Drives Star Role as La Zurda in Netflix’s En el Barro

In the vibrant world of Argentine culture, few names buzz with the creative energy of Lorena Vega. She’s a leading light in independent theater, known for powerful plays like ‘Imprenteros.’ Vega also teaches, directs, and acts, showing an unstoppable drive. This isn’t just about working; it’s a deep urge that has shaped her entire career.

Now at 49, Vega adds a big new role to her story. She’s co-starring in ‘En el barro’ (In the Mud), a major new show from Netflix, Underground, and Telemundo Studios. This series takes the popular world of ‘El marginal’ and moves it to a women’s prison. Moving from small, underground theaters to global productions might seem like a huge leap. But for Lorena Vega, it’s a natural next step. Her journey has always been about managing her own projects, always learning, and making every experience count. “Underground was a place I had wanted to work with for many years,” she told Us Weekly en Español in an exclusive chat. “Now I am working on their new project for Netflix.”

A Self-Made Artist

Lorena Vega has been involved in many projects and stages since she was 17. Her path has never been a straight line. She acts, directs, teaches, and creates gathering places for artists. In Buenos Aires during the 2000s, you could find her performing in recovered factories like IMPA (Industrias Metalúrgicas y Plásticas Argentinas). She also worked in small basements or neighborhood halls. She always brought theater to places where it became a form of cultural activism.

“In Buenos Aires, independent theater doesn’t pay a salary,” she explained. “So the only way to keep it going is to do many jobs at once.” She added, “At the same time, the plays grow over time, and you want to keep performing them. That’s how my works start piling up.” Today, she has seven active plays. Some are permanent, and others travel. She also teaches and leads group projects. Vega admits that for a long time, her busy schedule was a way to quiet her fears. “At one point, it was a way to live with what might scare me,” she said. “Over the years, that changed. But the desire to create all the time still drives me.”

From Small Stages to Global Screens

Her role in ‘En el barro’ wasn’t by chance, but it was a turning point. Before this, she had small parts in shows like ‘Graduados’ and ‘100 días para enamorarse.’ She had never had a steady role on screen. That changed when she became the kind Fernanda, the psychologist for Griselda Siciliani’s main character in ‘Envidiosa.’

The invitation to ‘En el barro’ surprised her. “I did an audition and then they called me for a meeting,” she recalled. “I thought it was just a preliminary step. But when I walked in, Sebastián Ortega told me, ‘Welcome to the project.'” She added, “It was amazing. It was a wish I had held for many years.” In the series, Vega plays La Zurda (The Left-Handed One). This character leads a group of women in La Quebrada prison. “The challenge was to avoid a cliché,” Vega explained. “If she was just violent or arrogant, she would be a stereotype. I wanted her to have a unique feel and her own life.”

Filming happened in the middle of winter, and it was tough. It was extremely cold, with scenes involving nudity and violence that needed special care. Vega was thankful for the support of her co-star Santiago Camaño and the intimacy coordinator Tati Rojas. “It was handled very well, and I felt comfortable and trusted,” she said. She also mentioned, “Of course, actors always see our bodies as our full instrument. But when you are filming, with cameras and so many people around, those are tense situations. My experience in that regard was fantastic, comfortable, even fun.”

Activism Through Art, Never Forgotten

Even though her face is now on Netflix’s global platform, Lorena Vega hasn’t forgotten her independent roots. For her, theater is more than just a place for art. It’s also a place to stand strong. “In 2001, we performed in recovered factories,” she shared. “It was a way to support what was happening in society.” She believes art has an important role: “It opens up new possibilities, encourages questions, and keeps communities together.”

She felt that same sense of community while working on ‘En el barro.’ The cast included actors, singers, and athletes. They formed a bond that lives on in a group chat with over 40 members. They share memories there and support each other’s new projects. Recently, they helped each other through the illness and death of Alejandra ‘Locomotora’ Olivera. The series is dedicated to her. “She was a very joyful person, with a lot of energy for our group,” Vega remembered emotionally. “We were all very sad, sharing the pain. The series is our tribute to her.”

Theater and Streaming, Hand in Hand

For many years, television and independent theater in Argentina seemed like separate worlds. Vega is happy that this barrier is now gone. “Before, it was frowned upon for a theater actor to do TV,” she noted. “Today, they work together perfectly.” She believes there’s a high level of talent in film and TV right now. That makes it appealing for those who come from the theater.

Her experience with ‘Envidiosa’ helped her understand how powerful streaming platforms are. “With ‘Envidiosa,’ I realized how far your work can reach on a platform,” she reflected. “People from anywhere in the world can see it. That changes your connection with the audience.”

What’s Next for Lorena Vega

Lorena Vega isn’t slowing down or settling. She keeps choosing projects that push her and help her grow. She’s about to launch a new series directed by Paula Hernández. This show is based on a real Argentine true story. At the same time, she continues to perform many of her stage plays. “Acting means changing,” she stated. “I look for challenges that make my legs tremble.”

From performing in recovered factories to working on Netflix sets, Lorena Vega has built her own path. It’s a journey that’s true to herself and full of challenges. She blends cultural activism, artistic exploration, and the ability to reinvent herself. She does all of this without losing her core identity. Perhaps that’s the secret to her success now: understanding that every stage, whether it’s a local hall or a global production, is a place to touch others and be touched in return.