Netizens of Rosario Radio. Welcome to these informative podcasts through the signal of the
digital station of the University of Rosario or Rosario Radio. I am Nelson Duarte
and on this occasion we have as guest Daniel Medina, who is the director
and writer of the human talent work, which premiered last April 4 at the
house of the National Theatre. Daniel Medina is an actor, director, playwright,
screenwriter and teacher of the National Literature Award in the twenty- three thousand
for his Bogotá anthology in Tinta Roja. He is currently the writer and actor
of the play by the same scissors at the National Theatre. It has merged
different disciplines in the artistic work for the creation of a platform with uninterrupted activity.
That graduate of the School of Dramatic Art of the National Theatre in the
two thousand and twenty published the book of tales, whores, monsters and other
harmless beings and in the two thousand and twenty the poetic one word of yours
will suffice to kill me has written more than twenty works, among them Vallet
Peregrino was an initiative generating a Ditrital Portfolio of stimuli for culture, being also
the first self- teaching work in Colombia. Her work before she arrived was
published in the last volume of anthology of the Teatro Breve, Colombia. His
work for the same scissors participated in the first dramaturgy tournament of the Teatro Colón
in Bogotá. Daniel Welcome to Rosario Radio' s microphones. A lot.
Thank you so much for this space, for inviting human talent. It'
s a new opportunity to talk these days. Of that, what does that
mean that we consider ourselves as a success as students, as workers, as
in some way, success is always something that program us, because from children,
in some way, they force us to occupy that place. And then,
when we grow up, we realize that it' s ourselves that we
' re looking for that place, comparing ourselves, exploding ourselves, demanding ourselves,
and we never really know what that place really is and when we have
it, we don' t see it, because we always want another place,
we always want to be somewhere else. We never settle for our place
and let' s say this device that takes a little advantage, that it
' s theater and that there are spectators, and then we start treating viewers
as spectators, but as customers. Somehow we convert that formula which, in
short, of the theatre is also and is a service and I also associate
it with a customer service, because, somehow, a good work has to
be a good service, as well as a bad work is a bad service.
And I go out talking bad about service. And I didn' t
like this. No, this, this I didn' t understand, or
this didn' t identify me, or this seemed boring to me. So,
when you talk about any kind of service that doesn' t happen,
no, then we don' t take a little advantage of this formula to
propose this device. Well, Daniel, what really inspired him to do this
work, because, then, what is lived in an office, in a
factory, in the place where, since we are providing a service, there
are countless things going on, both for the bosses and for the employees who
led him to perform this work that is presenting him to all the netizens of
Rosario Radio Talento hand. Well, part of it was the concern that the
actors had at the time with which they started this process. This process begins
as an academic and until now it becomes a professional work. But when I
was within the academic range, some of the concerns that the actors had and
I too, because I have had it is precisely what I am going to
do now, what I graduate, yes, like what I am going to
do now that I finish my process, which I am going to do now
that I start my working life. That' s a state of danger in
some way, and it' s also a state of great knowledge, because
somehow you understand that if you' re going to dedicate yourself to this,
and apply it not only for theater, but for any kind of career.
If you want to dedicate yourself to this, because they involve sacrifices in time
and space, then yes, as with this restlessness, I begin to write
scenes for the actors and just after that we do as an assembly of all
the materials that we already had. From what I' m hearing. The
work is focused precisely on those people who are starting out looking for their first
job, or actually already for people who have a work experience and who sometimes
do not feel satisfied in that site, but by obligation they have to be
working there. I think that for everyone, for everyone, to say that
the work is supported under various materials that allow one to somehow feel identified if
it is starting well or even if one is thinking about changing jobs or careers
or even if it takes a long time in the same career or in the
same job and wants to try other things. As I' m telling you,
it' s spatial disconformity, which is like I call it. I
think it' s a state. It is something that you feel at any
age and can feel anywhere. So it' s not as focused on a
certain specific part of people, but just as it covered it. All good.
Daniel, you' re very young. How old you are twenty-
five years old, twenty- five years old and since you are a director,
playwright, screenwriter, teacher, you already have a national literature award in
the twenty- three thousand for your Bogotá analogy in red ink. He is
currently the writer and actor of the play by the same scissors. This work
is also performed at the National Theatre. True yes, sir just the time
that what human talent, precisely of that personal exploitation is also something that I
am living. But so too, that is, you feel identified with this
work. They' re blowing it up. Of course, of course,
nonconformity and saturation is something that accompanies us. I mean, you can'
t deny that something you' re talking about still doesn' t upset or
alter it. But it also does not change for the better. Well,
sometimes that sacrifice is worth it when it' s paid in the checkbook.
Let' s not expect it to be no to you, but I congratulate
Daniel, because he' s a person for twenty- five years and already
with this journey and what he' s doing, because it' s something
that really motivates those people to have that approach. Not if he can.
I too can and will achieve it no matter what circumstances I am living around
you. Yes, sir, yes, sir, I think the most important
thing is the sacrifice of time, because somehow, the economic sacrifice I feel
comes after, but the sacrifice of time is somehow to arrange that most of
the time I need for my creation or for my invention or for this undertaking,
for whatever I want to spend, I need a lot of time on
my side. I can' t say I' m flexible against other things
I have to do somehow. I need to set you up for a long
time. Without this is what I want to go into and talk about that
flexivity that you just told us, what that interaction with the people you are
directing is like. According to the statement of thinking that I have here,
they are actors who are graduating from the drama school of the national theater,
but I don' t know, when you face actors who have already had
a tour, what that interaction is like. They respect him, they value
him no matter how old you are, because right now there is an actor
who is replacing one of the guys who had just graduated and is a graduate,
because he already has a lot more court and who is also a graduate
of the theater house and let' s say it' s another generation.
It is not other generations of the generations that were graduating when I entered,
not in any way, these kinds of people who have moved around in circles,
in a lot of training, in a lot of theater, in a
lot of cinema. And just having it, because it makes me what you
say is like comparing it like that deal. But I don' t feel
like they have nothing to do with how long you' ve been a graduate
when you' ve been working on this to realize that this work is always
based on respect and listening. Daniel, when I have ever heard that there
are actors who like to be on the tables that come up television, how
do you see that some actors think that I do not want to be an
actor of novels of what television presents or go to be a casting, but
I prefer to be on the tables in what is really the essence of the
theater, because I feel that they are different fascinations. Somehow, I feel
that when it comes to making movies or making television, you don' t
feel so much pleasure when it comes to doing because somehow everything goes a little
faster and a little more controlled and somehow, the energy isn' t focused
on that there are spectators about you instead, when you' re in season
and besides you have this possibility that you repeat and repeat all the time,
because there' s function tomorrow and it happens tomorrow and the other week,
like this interaction that there are always people who come to just pay attention to
what I' m doing or how I' m moving, because I feel
that it allows me to enjoy a little bit and realize that self- discovery
that I have when it comes to working there. So if I feel the
pleasure of being on boards, the pleasure of being performing in theater, because
it is a little bigger or dilated from the pleasure of cinema and television.
For me the pleasure of TV cinema is when you finish editing and either you
release that movie or it comes out on TV and you can see it as
the end result. That' s when that kind of pleasure begins for me,
because I feel that before it' s like so much information, now
it' s accurate and ta ta ta ta ta ta ta ta ta,
ta ta that somehow you don' t feel so much enjoying it, but
in the end you see the results and you say no yes, you get
to do this that says you do this. Well, Daniel. The play
premiered yesterday, April 4. Not as you see, the reception of the
people really impacted remember that the bossa voice is the main thing for the theater
to be constantly full. Then, as in that first act that were made,
what expectations he felt as director, as writer of this work, because
last week we had done some functions as preview. And just yesterday, because
it was the stress, it was a little more visible to the rest of
the world than was somehow existing. I had a little bit of this prevention
or this fear that we' ll say older people or that people who don
' t work just in some office or don' t live out of the
theater, like they' ll somehow show up a little extraneous to the play.
But it' s not really very yes, it' s very important
for all kinds of audiences, for older adults as well, and I think
it' s partly about a collective void, which is that we all,
somehow wanted to be something different from what we are now. And it'
s not like we don' t like what we do now. It'
s not that we don' t like to do what we' re doing
now. It is that, deep down, we wanted or would have liked
to be somewhere else, in another job, in another career, in another
country. That is, if there is a spatial inconsistency, frustrated or ignited
or notorious or notorious. Then, as we all share this factor, the
impact was, well, super, because it was a win for all.
Actually, if people like to laugh at that rhythm in ton, the play
is funny too and I feel that that is important. So, if we
already overcome that gap, we realized that the work does impact, that it
works, that it has fun, that it entertains, that it is a
good service. The important thing is that you, as a spectator, feel
identified with what you are transmitting truth, because you just said so at that
moment. Sometimes you' re in a place, but you don' t
feel satisfied because this isn' t what I wanted. This is what I
didn' t dream about being here, but it' s what I'
m up to and that' s what it is. Yeah,' cause
the chances suddenly I let them pass. I don' t know how to
show up again, either out of laziness or neglect. Well, under any
circumstances, sometimes you' re not in the place where you want to be,
and that' s the good thing. Let one see something and immediately
one says, well, mother, that' s what' s happening to
me. That is what I am, what I am living, what these
manners are transmitting to me through this work is what I am living. And
I have to laugh at what I am living and these make me laugh at
what I lost or formulate myself tomorrow or the day after tomorrow. So,
to make a change of decision for that, because I feel that when the
theater becomes u r a r the theater, for me it does not have
to give you concrete indications of what you should do. For me, he
mustn' t tell you to change jobs or change carnals. No, because,
then, it' s just when you' re complaining every day about
being told what you should do. No. But the theater is profitable just
when it presents you with a lot of images, I hope you contradict it
so that you have as what to choose from. Have to cut that you
choose it and from your own means and from your own interpretations, make decisions
for your life. That, that' s like the taste that theater somehow
helps you formulate what you could suddenly do. That' s, that'
s blessed for me. Well, Daniel, then let' s tell our
netizens. The play premiered yesterday, April 4. What a day he'
s gonna be on the air. Let' s say so the performances in
the theater, in the house of the National Theatre, where you can buy
the tickets so you can go to see this play how you are. It
is a work that can be gone as a family or only for adults.
It is a play that you can see in a patch of friends or in
a familiar patch without a problem, or you can go alone, as there
are people who go to theater alone and in some way it is a different
experience. We' re going to be here this week, today and tomorrow
at eight o' clock at night and the rest of the weeks We'
re going to be here from Thursday to Saturday until 27 April, also at
eight o' clock at night. There, in the theater house, tickets
can be obtained in any of the three venues of the National Theatre, in
Castellana, on seventy- one street or there is in the theater house,
and they can also be bought and booked on the National Theatre page, which
is National Theatre. Punto com then, Daniel, thank you very much for
going through the microphones of Rosario Radio in these informative podcasts. I don'
t know if I have any social networks where our netizens can know a little
more about their trajectory and also, well, be aware of what comes next.
My social media is Daniel l l l M. Daniel l MM That
' s my instagram and also, well, that of the platform group that
I call more platform than the domestic spectrum group on Facebook and Instagram. Daniel,
thank you for introducing us to this now cut your hand, for taking
the viewer to really identify if what she' s doing is really worth it,
if she likes the job or if she likes the environment, where she
is or if she doesn' t think about finding another alternative so she feels
much better. Yes, yes, yes, you regret how many times you
want and Lord thank you, thank you for this very rich space, as
rich reported for the informative podcasts of Rosario Radio Nelson Duarte