1
00:00:00,640 --> 00:00:05,639
Netizens of Rosario Radio. Welcome to
these informative podcasts through the signal of the

2
00:00:05,719 --> 00:00:11,439
digital station of the University of Rosario
or Rosario Radio. I am Nelson Duarte

3
00:00:11,480 --> 00:00:16,399
and on this occasion we have as
guest Daniel Medina, who is the director

4
00:00:16,440 --> 00:00:20,920
and writer of the human talent work, which premiered last April 4 at the

5
00:00:21,120 --> 00:00:25,679
house of the National Theatre. Daniel
Medina is an actor, director, playwright,

6
00:00:26,480 --> 00:00:31,920
screenwriter and teacher of the National Literature
Award in the twenty- three thousand

7
00:00:32,079 --> 00:00:36,159
for his Bogotá anthology in Tinta Roja. He is currently the writer and actor

8
00:00:36,200 --> 00:00:41,200
of the play by the same scissors
at the National Theatre. It has merged

9
00:00:41,240 --> 00:00:48,439
different disciplines in the artistic work for
the creation of a platform with uninterrupted activity.

10
00:00:49,159 --> 00:00:53,600
That graduate of the School of Dramatic
Art of the National Theatre in the

11
00:00:53,640 --> 00:00:59,880
two thousand and twenty published the book
of tales, whores, monsters and other

12
00:01:00,359 --> 00:01:04,640
harmless beings and in the two thousand
and twenty the poetic one word of yours

13
00:01:04,719 --> 00:01:11,200
will suffice to kill me has written
more than twenty works, among them Vallet

14
00:01:11,200 --> 00:01:17,120
Peregrino was an initiative generating a Ditrital
Portfolio of stimuli for culture, being also

15
00:01:17,359 --> 00:01:19,760
the first self- teaching work in
Colombia. Her work before she arrived was

16
00:01:19,840 --> 00:01:25,359
published in the last volume of anthology
of the Teatro Breve, Colombia. His

17
00:01:25,480 --> 00:01:32,200
work for the same scissors participated in
the first dramaturgy tournament of the Teatro Colón

18
00:01:32,400 --> 00:01:37,079
in Bogotá. Daniel Welcome to Rosario
Radio' s microphones. A lot.

19
00:01:37,120 --> 00:01:42,200
Thank you so much for this space, for inviting human talent. It'

20
00:01:42,439 --> 00:01:49,400
s a new opportunity to talk these
days. Of that, what does that

21
00:01:49,400 --> 00:01:57,359
mean that we consider ourselves as a
success as students, as workers, as

22
00:01:57,359 --> 00:02:00,920
in some way, success is always
something that program us, because from children,

23
00:02:01,120 --> 00:02:05,959
in some way, they force us
to occupy that place. And then,

24
00:02:06,040 --> 00:02:09,960
when we grow up, we realize
that it' s ourselves that we

25
00:02:10,039 --> 00:02:20,800
' re looking for that place,
comparing ourselves, exploding ourselves, demanding ourselves,

26
00:02:21,639 --> 00:02:23,879
and we never really know what that
place really is and when we have

27
00:02:23,879 --> 00:02:25,400
it, we don' t see
it, because we always want another place,

28
00:02:25,400 --> 00:02:28,199
we always want to be somewhere else. We never settle for our place

29
00:02:28,840 --> 00:02:32,759
and let' s say this device
that takes a little advantage, that it

30
00:02:32,800 --> 00:02:38,759
' s theater and that there are
spectators, and then we start treating viewers

31
00:02:38,759 --> 00:02:44,159
as spectators, but as customers.
Somehow we convert that formula which, in

32
00:02:44,319 --> 00:02:47,680
short, of the theatre is also
and is a service and I also associate

33
00:02:47,759 --> 00:02:53,240
it with a customer service, because, somehow, a good work has to

34
00:02:53,439 --> 00:02:57,560
be a good service, as well
as a bad work is a bad service.

35
00:02:58,960 --> 00:03:00,800
And I go out talking bad about
service. And I didn' t

36
00:03:00,800 --> 00:03:07,080
like this. No, this,
this I didn' t understand, or

37
00:03:07,159 --> 00:03:08,400
this didn' t identify me,
or this seemed boring to me. So,

38
00:03:08,439 --> 00:03:12,680
when you talk about any kind of
service that doesn' t happen,

39
00:03:12,719 --> 00:03:17,280
no, then we don' t
take a little advantage of this formula to

40
00:03:17,280 --> 00:03:22,719
propose this device. Well, Daniel, what really inspired him to do this

41
00:03:22,719 --> 00:03:28,639
work, because, then, what
is lived in an office, in a

42
00:03:28,759 --> 00:03:34,879
factory, in the place where,
since we are providing a service, there

43
00:03:34,919 --> 00:03:40,439
are countless things going on, both
for the bosses and for the employees who

44
00:03:40,479 --> 00:03:46,159
led him to perform this work that
is presenting him to all the netizens of

45
00:03:46,280 --> 00:03:49,639
Rosario Radio Talento hand. Well,
part of it was the concern that the

46
00:03:49,919 --> 00:03:53,439
actors had at the time with which
they started this process. This process begins

47
00:03:53,479 --> 00:03:59,240
as an academic and until now it
becomes a professional work. But when I

48
00:03:59,319 --> 00:04:05,800
was within the academic range, some
of the concerns that the actors had and

49
00:04:05,919 --> 00:04:12,639
I too, because I have had
it is precisely what I am going to

50
00:04:12,639 --> 00:04:15,879
do now, what I graduate,
yes, like what I am going to

51
00:04:15,879 --> 00:04:17,360
do now that I finish my process, which I am going to do now

52
00:04:17,360 --> 00:04:21,000
that I start my working life.
That' s a state of danger in

53
00:04:21,040 --> 00:04:27,240
some way, and it' s
also a state of great knowledge, because

54
00:04:27,279 --> 00:04:30,000
somehow you understand that if you'
re going to dedicate yourself to this,

55
00:04:30,360 --> 00:04:32,519
and apply it not only for theater, but for any kind of career.

56
00:04:33,800 --> 00:04:41,439
If you want to dedicate yourself to
this, because they involve sacrifices in time

57
00:04:41,519 --> 00:04:46,160
and space, then yes, as
with this restlessness, I begin to write

58
00:04:46,759 --> 00:04:50,959
scenes for the actors and just after
that we do as an assembly of all

59
00:04:51,040 --> 00:04:55,319
the materials that we already had.
From what I' m hearing. The

60
00:04:55,399 --> 00:05:00,439
work is focused precisely on those people
who are starting out looking for their first

61
00:05:00,560 --> 00:05:04,279
job, or actually already for people
who have a work experience and who sometimes

62
00:05:04,360 --> 00:05:09,720
do not feel satisfied in that site, but by obligation they have to be

63
00:05:09,720 --> 00:05:14,199
working there. I think that for
everyone, for everyone, to say that

64
00:05:14,240 --> 00:05:18,360
the work is supported under various materials
that allow one to somehow feel identified if

65
00:05:18,439 --> 00:05:25,279
it is starting well or even if
one is thinking about changing jobs or careers

66
00:05:25,439 --> 00:05:29,759
or even if it takes a long
time in the same career or in the

67
00:05:29,800 --> 00:05:33,839
same job and wants to try other
things. As I' m telling you,

68
00:05:34,439 --> 00:05:35,720
it' s spatial disconformity, which
is like I call it. I

69
00:05:36,560 --> 00:05:41,319
think it' s a state.
It is something that you feel at any

70
00:05:41,319 --> 00:05:49,120
age and can feel anywhere. So
it' s not as focused on a

71
00:05:49,240 --> 00:05:55,079
certain specific part of people, but
just as it covered it. All good.

72
00:05:55,240 --> 00:05:59,079
Daniel, you' re very young. How old you are twenty-

73
00:05:59,279 --> 00:06:05,959
five years old, twenty- five
years old and since you are a director,

74
00:06:06,879 --> 00:06:13,120
playwright, screenwriter, teacher, you
already have a national literature award in

75
00:06:13,240 --> 00:06:15,519
the twenty- three thousand for your
Bogotá analogy in red ink. He is

76
00:06:15,600 --> 00:06:20,959
currently the writer and actor of the
play by the same scissors. This work

77
00:06:21,040 --> 00:06:26,120
is also performed at the National Theatre. True yes, sir just the time

78
00:06:26,120 --> 00:06:31,720
that what human talent, precisely of
that personal exploitation is also something that I

79
00:06:31,800 --> 00:06:35,480
am living. But so too,
that is, you feel identified with this

80
00:06:35,639 --> 00:06:39,360
work. They' re blowing it
up. Of course, of course,

81
00:06:40,240 --> 00:06:43,920
nonconformity and saturation is something that accompanies
us. I mean, you can'

82
00:06:44,040 --> 00:06:47,839
t deny that something you' re
talking about still doesn' t upset or

83
00:06:47,839 --> 00:06:50,439
alter it. But it also does
not change for the better. Well,

84
00:06:50,480 --> 00:06:54,680
sometimes that sacrifice is worth it when
it' s paid in the checkbook.

85
00:06:55,240 --> 00:07:01,360
Let' s not expect it to
be no to you, but I congratulate

86
00:07:01,480 --> 00:07:05,040
Daniel, because he' s a
person for twenty- five years and already

87
00:07:05,040 --> 00:07:13,319
with this journey and what he'
s doing, because it' s something

88
00:07:13,319 --> 00:07:14,720
that really motivates those people to have
that approach. Not if he can.

89
00:07:15,240 --> 00:07:18,720
I too can and will achieve it
no matter what circumstances I am living around

90
00:07:18,759 --> 00:07:23,759
you. Yes, sir, yes, sir, I think the most important

91
00:07:23,879 --> 00:07:30,079
thing is the sacrifice of time,
because somehow, the economic sacrifice I feel

92
00:07:30,120 --> 00:07:34,199
comes after, but the sacrifice of
time is somehow to arrange that most of

93
00:07:34,199 --> 00:07:42,040
the time I need for my creation
or for my invention or for this undertaking,

94
00:07:42,920 --> 00:07:46,920
for whatever I want to spend,
I need a lot of time on

95
00:07:46,920 --> 00:07:54,120
my side. I can' t
say I' m flexible against other things

96
00:07:54,160 --> 00:07:56,600
I have to do somehow. I
need to set you up for a long

97
00:07:56,600 --> 00:08:01,879
time. Without this is what I
want to go into and talk about that

98
00:08:01,160 --> 00:08:07,480
flexivity that you just told us,
what that interaction with the people you are

99
00:08:07,519 --> 00:08:09,879
directing is like. According to the
statement of thinking that I have here,

100
00:08:11,079 --> 00:08:15,800
they are actors who are graduating from
the drama school of the national theater,

101
00:08:16,000 --> 00:08:20,319
but I don' t know,
when you face actors who have already had

102
00:08:20,439 --> 00:08:22,600
a tour, what that interaction is
like. They respect him, they value

103
00:08:22,720 --> 00:08:28,160
him no matter how old you are, because right now there is an actor

104
00:08:28,199 --> 00:08:33,720
who is replacing one of the guys
who had just graduated and is a graduate,

105
00:08:33,799 --> 00:08:35,759
because he already has a lot more
court and who is also a graduate

106
00:08:35,799 --> 00:08:39,399
of the theater house and let'
s say it' s another generation.

107
00:08:39,519 --> 00:08:43,960
It is not other generations of the
generations that were graduating when I entered,

108
00:08:45,120 --> 00:08:48,639
not in any way, these kinds
of people who have moved around in circles,

109
00:08:48,240 --> 00:08:52,480
in a lot of training, in
a lot of theater, in a

110
00:08:52,480 --> 00:08:56,240
lot of cinema. And just having
it, because it makes me what you

111
00:08:56,320 --> 00:09:01,519
say is like comparing it like that
deal. But I don' t feel

112
00:09:01,600 --> 00:09:05,759
like they have nothing to do with
how long you' ve been a graduate

113
00:09:05,840 --> 00:09:09,919
when you' ve been working on
this to realize that this work is always

114
00:09:09,919 --> 00:09:15,799
based on respect and listening. Daniel, when I have ever heard that there

115
00:09:15,840 --> 00:09:22,919
are actors who like to be on
the tables that come up television, how

116
00:09:22,039 --> 00:09:28,320
do you see that some actors think
that I do not want to be an

117
00:09:28,600 --> 00:09:31,519
actor of novels of what television presents
or go to be a casting, but

118
00:09:31,600 --> 00:09:35,399
I prefer to be on the tables
in what is really the essence of the

119
00:09:37,000 --> 00:09:39,240
theater, because I feel that they
are different fascinations. Somehow, I feel

120
00:09:39,279 --> 00:09:45,559
that when it comes to making movies
or making television, you don' t

121
00:09:45,639 --> 00:09:48,159
feel so much pleasure when it comes
to doing because somehow everything goes a little

122
00:09:48,240 --> 00:09:52,799
faster and a little more controlled and
somehow, the energy isn' t focused

123
00:09:52,799 --> 00:09:58,480
on that there are spectators about you
instead, when you' re in season

124
00:09:58,600 --> 00:10:01,720
and besides you have this possibility that
you repeat and repeat all the time,

125
00:10:01,960 --> 00:10:05,240
because there' s function tomorrow and
it happens tomorrow and the other week,

126
00:10:05,840 --> 00:10:11,840
like this interaction that there are always
people who come to just pay attention to

127
00:10:11,879 --> 00:10:15,399
what I' m doing or how
I' m moving, because I feel

128
00:10:15,840 --> 00:10:22,720
that it allows me to enjoy a
little bit and realize that self- discovery

129
00:10:22,759 --> 00:10:24,600
that I have when it comes to
working there. So if I feel the

130
00:10:24,679 --> 00:10:28,480
pleasure of being on boards, the
pleasure of being performing in theater, because

131
00:10:28,559 --> 00:10:35,919
it is a little bigger or dilated
from the pleasure of cinema and television.

132
00:10:35,919 --> 00:10:39,080
For me the pleasure of TV cinema
is when you finish editing and either you

133
00:10:39,519 --> 00:10:43,559
release that movie or it comes out
on TV and you can see it as

134
00:10:43,600 --> 00:10:46,279
the end result. That' s
when that kind of pleasure begins for me,

135
00:10:46,919 --> 00:10:52,200
because I feel that before it'
s like so much information, now

136
00:10:52,320 --> 00:10:54,799
it' s accurate and ta ta
ta ta ta ta ta ta ta,

137
00:10:54,159 --> 00:10:58,200
ta ta that somehow you don'
t feel so much enjoying it, but

138
00:10:58,279 --> 00:11:00,720
in the end you see the results
and you say no yes, you get

139
00:11:00,720 --> 00:11:01,200
to do this that says you do
this. Well, Daniel. The play

140
00:11:01,240 --> 00:11:07,200
premiered yesterday, April 4. Not
as you see, the reception of the

141
00:11:07,279 --> 00:11:15,240
people really impacted remember that the bossa
voice is the main thing for the theater

142
00:11:15,279 --> 00:11:18,480
to be constantly full. Then,
as in that first act that were made,

143
00:11:18,720 --> 00:11:24,399
what expectations he felt as director,
as writer of this work, because

144
00:11:24,639 --> 00:11:28,799
last week we had done some functions
as preview. And just yesterday, because

145
00:11:28,840 --> 00:11:33,080
it was the stress, it was
a little more visible to the rest of

146
00:11:33,240 --> 00:11:39,559
the world than was somehow existing.
I had a little bit of this prevention

147
00:11:39,679 --> 00:11:46,960
or this fear that we' ll
say older people or that people who don

148
00:11:46,000 --> 00:11:50,440
' t work just in some office
or don' t live out of the

149
00:11:50,519 --> 00:11:52,679
theater, like they' ll somehow
show up a little extraneous to the play.

150
00:11:52,840 --> 00:11:58,120
But it' s not really very
yes, it' s very important

151
00:11:58,200 --> 00:12:03,759
for all kinds of audiences, for
older adults as well, and I think

152
00:12:03,799 --> 00:12:09,919
it' s partly about a collective
void, which is that we all,

153
00:12:09,360 --> 00:12:11,960
somehow wanted to be something different from
what we are now. And it'

154
00:12:13,000 --> 00:12:13,679
s not like we don' t
like what we do now. It'

155
00:12:13,720 --> 00:12:16,080
s not that we don' t
like to do what we' re doing

156
00:12:16,080 --> 00:12:20,279
now. It is that, deep
down, we wanted or would have liked

157
00:12:20,480 --> 00:12:26,080
to be somewhere else, in another
job, in another career, in another

158
00:12:26,080 --> 00:12:31,240
country. That is, if there
is a spatial inconsistency, frustrated or ignited

159
00:12:31,799 --> 00:12:35,639
or notorious or notorious. Then,
as we all share this factor, the

160
00:12:35,919 --> 00:12:41,240
impact was, well, super,
because it was a win for all.

161
00:12:41,240 --> 00:12:45,600
Actually, if people like to laugh
at that rhythm in ton, the play

162
00:12:45,679 --> 00:12:48,759
is funny too and I feel that
that is important. So, if we

163
00:12:48,840 --> 00:12:54,840
already overcome that gap, we realized
that the work does impact, that it

164
00:12:54,840 --> 00:12:58,159
works, that it has fun,
that it entertains, that it is a

165
00:12:58,159 --> 00:13:01,720
good service. The important thing is
that you, as a spectator, feel

166
00:13:01,759 --> 00:13:05,840
identified with what you are transmitting truth, because you just said so at that

167
00:13:05,879 --> 00:13:11,000
moment. Sometimes you' re in
a place, but you don' t

168
00:13:11,039 --> 00:13:13,320
feel satisfied because this isn' t
what I wanted. This is what I

169
00:13:13,320 --> 00:13:16,320
didn' t dream about being here, but it' s what I'

170
00:13:16,360 --> 00:13:18,039
m up to and that' s
what it is. Yeah,' cause

171
00:13:18,120 --> 00:13:24,039
the chances suddenly I let them pass. I don' t know how to

172
00:13:24,200 --> 00:13:26,559
show up again, either out of
laziness or neglect. Well, under any

173
00:13:26,639 --> 00:13:30,399
circumstances, sometimes you' re not
in the place where you want to be,

174
00:13:31,159 --> 00:13:33,720
and that' s the good thing. Let one see something and immediately

175
00:13:33,759 --> 00:13:35,960
one says, well, mother,
that' s what' s happening to

176
00:13:37,039 --> 00:13:39,440
me. That is what I am, what I am living, what these

177
00:13:39,559 --> 00:13:43,519
manners are transmitting to me through this
work is what I am living. And

178
00:13:43,639 --> 00:13:48,440
I have to laugh at what I
am living and these make me laugh at

179
00:13:48,519 --> 00:13:52,240
what I lost or formulate myself tomorrow
or the day after tomorrow. So,

180
00:13:52,559 --> 00:13:58,440
to make a change of decision for
that, because I feel that when the

181
00:13:58,519 --> 00:14:01,519
theater becomes u r a r the
theater, for me it does not have

182
00:14:01,600 --> 00:14:05,720
to give you concrete indications of what
you should do. For me, he

183
00:14:05,799 --> 00:14:07,600
mustn' t tell you to change
jobs or change carnals. No, because,

184
00:14:07,720 --> 00:14:11,720
then, it' s just when
you' re complaining every day about

185
00:14:11,720 --> 00:14:16,080
being told what you should do.
No. But the theater is profitable just

186
00:14:16,120 --> 00:14:20,360
when it presents you with a lot
of images, I hope you contradict it

187
00:14:22,159 --> 00:14:24,159
so that you have as what to
choose from. Have to cut that you

188
00:14:24,200 --> 00:14:28,879
choose it and from your own means
and from your own interpretations, make decisions

189
00:14:28,919 --> 00:14:33,799
for your life. That, that' s like the taste that theater somehow

190
00:14:33,799 --> 00:14:39,440
helps you formulate what you could suddenly
do. That' s, that'

191
00:14:39,480 --> 00:14:43,879
s blessed for me. Well,
Daniel, then let' s tell our

192
00:14:43,879 --> 00:14:48,080
netizens. The play premiered yesterday,
April 4. What a day he'

193
00:14:48,240 --> 00:14:52,360
s gonna be on the air.
Let' s say so the performances in

194
00:14:52,559 --> 00:14:56,679
the theater, in the house of
the National Theatre, where you can buy

195
00:14:56,759 --> 00:15:00,679
the tickets so you can go to
see this play how you are. It

196
00:15:00,720 --> 00:15:03,120
is a work that can be gone
as a family or only for adults.

197
00:15:05,240 --> 00:15:07,320
It is a play that you can
see in a patch of friends or in

198
00:15:07,399 --> 00:15:11,320
a familiar patch without a problem,
or you can go alone, as there

199
00:15:11,440 --> 00:15:13,600
are people who go to theater alone
and in some way it is a different

200
00:15:13,600 --> 00:15:18,279
experience. We' re going to
be here this week, today and tomorrow

201
00:15:18,320 --> 00:15:22,440
at eight o' clock at night
and the rest of the weeks We'

202
00:15:22,480 --> 00:15:24,200
re going to be here from Thursday
to Saturday until 27 April, also at

203
00:15:24,200 --> 00:15:26,200
eight o' clock at night.
There, in the theater house, tickets

204
00:15:26,879 --> 00:15:31,320
can be obtained in any of the
three venues of the National Theatre, in

205
00:15:31,440 --> 00:15:33,120
Castellana, on seventy- one street
or there is in the theater house,

206
00:15:33,399 --> 00:15:39,120
and they can also be bought and
booked on the National Theatre page, which

207
00:15:39,200 --> 00:15:43,240
is National Theatre. Punto com then, Daniel, thank you very much for

208
00:15:43,279 --> 00:15:46,639
going through the microphones of Rosario Radio
in these informative podcasts. I don'

209
00:15:46,799 --> 00:15:52,799
t know if I have any social
networks where our netizens can know a little

210
00:15:52,080 --> 00:15:56,039
more about their trajectory and also,
well, be aware of what comes next.

211
00:15:58,159 --> 00:16:03,919
My social media is Daniel l l
l M. Daniel l MM That

212
00:16:03,000 --> 00:16:10,320
' s my instagram and also,
well, that of the platform group that

213
00:16:10,360 --> 00:16:15,720
I call more platform than the domestic
spectrum group on Facebook and Instagram. Daniel,

214
00:16:15,799 --> 00:16:21,200
thank you for introducing us to this
now cut your hand, for taking

215
00:16:21,960 --> 00:16:26,240
the viewer to really identify if what
she' s doing is really worth it,

216
00:16:26,519 --> 00:16:30,000
if she likes the job or if
she likes the environment, where she

217
00:16:30,039 --> 00:16:33,360
is or if she doesn' t
think about finding another alternative so she feels

218
00:16:33,360 --> 00:16:37,399
much better. Yes, yes,
yes, you regret how many times you

219
00:16:37,519 --> 00:16:41,840
want and Lord thank you, thank
you for this very rich space, as

220
00:16:42,039 --> 00:16:45,879
rich reported for the informative podcasts of
Rosario Radio Nelson Duarte