go on stage
in the first plays in the
to act and and to try to listen
some of the energy of the public
thinking about that privilege that
opportunity the responsibility that is
try to capture something of all that
energy that is gargantuan not and treat
take the place of that privilege and
responsibility that puts us very
nervous and that I greatly appreciate
well I think they are a varied audience
which complicates things a bit
because you do not know where to point
young people in general I see I ‘m also going
I’m going to ask some question that
they’re going to involve and they’re going to have to
raise your hand
for example how many are older than 30
100 under 30 years old was injured at
rest but to see them
I’m going to try to trap him more or less
half to divide them into two groups
Similar age
we’re going to go 27 over 27 under
27
well there are 25 over 25 and under
25 26 then 26 ok then there is a
larger group of 26 a smaller group and already
that we are in train to investigate them
a little more
I will ask you preferences preferences
in dramatic genres let’s go to
start for example good comedy
tragedy for pretty good
we turn to its genres or genres of
of videoclub science fiction thriller
with suspense
action espionage and romantic comedy
well now the last one more that is me
I think the espionage with suspense that
I did not expect it turned out to be one of
the most voted
I would like to know about espionage with
suspense those who voted who are
older than 26 and younger than 26 the
perfect majority more or less
then I got an idea I put everything
this in a in an algorithmic blender
and this gives me a little the result that I
I was waiting to start this
so I’m going to say a poem that
Starts
wandering in the desert is still long
path and still many battles
up the pilgrim well up here
come on now yes it seems re let’s
do an exercise that repeat everything
until here it was quite long because it was
in the end I got excited about this one
with this exercise of asking them well
that out there we’re going to hear a little
faster in this repetition
if anyone repented with the
gender selection can change it
but let’s try to remember the details
even if we look at the one on the side in
sometime what they can remember and
repeat if then there he went gabriel
arrived
I remember when one of my first
performances that I left before leaving
on stage he tried to perceive the
energy of the public an energy
magnificent and the privilege that that
supposed to capture that and take it to
somewhere that responsibility
that weight that privilege that I want
also thank you very much
well I’m going to use this
resource of the handshake this year
that are a quite varied public
young so I want to first know
how many are over 30 minors
well I know they are the rest but I
serves those under 30
Well, I’m going to try to put him right in
to divide them into two age groups 25
older 25 minors 27 older 27 minors
26 we go with 26
and now we go with genres if we go to
see
taking advantage of this investigation we are going to
advance a little more comedy than
you prefer comedy tragedy enough
now let’s move on to subgenres or
the genres of videoclub science
fiction thriller with suspense espionage
fantastic cinema horror movies comedy
romantic well there is a predominance of
thriller with suspense that I did not
I was waiting and now I just want
know from those who chose this the
over 26 and those under 26 well
until then what we did
it was just a simple repetition of
of a fact that happened more or less
spontaneous because some things the
I had thought others would not have noticed
that I did not remember as much as
wanted some parts and in this
good repeat ps as one of those of
the principles of the action do not
repeat
then in the repetition we already started
to think some things not out there
we thought because we did some things
that we did in principle without thinking this
we can review them we can even think
what a fool I was when I actually
lift because I wanted to be nice or
the lift to imitate the coast
well they start to appear or I wanted to be
kind to the speaker but I do not care
not at all that good genre but that
type of requests in principle
grants a space to certain areas of
doubts of contradictions that out there
usually we are not giving him
also for me the repetition is like
the first symptom that I felt I could
have something to do with acting and
It was as a boy it’s my first memory of
something linked the acting is
the house and repeat something that could be
from a movie a scene a dialogue
that had interested me or a scene
own some some some situation
When I arrived he would lock me up because he gave me
shame this because I did not know what
he answered this interest was something be
in principle, it seemed abnormal to me
did not encourage me to share and reproduced
the scene repeated it maybe also
for to train me so I do not know
understand the logic better than the
keys that hid some behaviors and
in the repetition in the repetition
already appears what stanislavski stopped me
in this the team deserves a moment
special e
no, I’m not going to mention many more
names but the the organicity not him
he said that when we faced a
public we stand on a stage or
we have to repeat something that no longer
It was happening
let’s say in a real time or
spontaneous there was something of the
organicity that was lost
I believe that acting is something to capture
the present that is what we
we try to do and more or less by
some moment left for the moment
maybe we felt there was something that
repeated and sk tur this present that
we want to capture that it slips away
like like a dream
this is like some principle that that
we do not see the actors, and what good
it also involves making a cut
transversal in the thought of a
character of the characters and try to
understand and above all rebuild and
live what happens to a guy in a here
now represented
so then later they appeared
let’s say like other nations for
replace this with de of the truth
this or the plausible that out there
they have to do with how alive this or
even when illusory because yes
we keep silent
Stanislavski’s recommendation to go to the
real feelings after mamés by
example said it did not matter
for him the magic magician matters the
trick and then for the actor the
feeling would be like for magic
for the magician and reaches with power to believe or
make believe or generate an illusion and
same time when one of the first
steps in acting faces
this about organicity and I think what
In short, everything that has been
studied
finally it has to do with working in
the scenario have a real problem not
only repeat and show but have
something an activity to do because what
what happened
apparently it was that the brain when
one repeats something is in front of the audience
he no longer receives the orders
spontaneous the healthy dallas about
mountains to the body but thinks
intervene with a series of messages
intentionalities aware or that
they cut that organic question
so I think it’s the first time
it was my turn to act in a more
or less formal was when my grandfather moi
I was asked that it was a poem
this every year on a date
precise of a poem that I do not
I liked
this is not that now I love and
melo asked me and asked me to go to
rehearse a few weeks earlier because they were
the Jewish Passover
he was a Jew non- Jewish believers
Lay sedes considered that there was and that
effectiveness was like what he
interesting to see lolo that the pull as
that what he was interested in
traditions because I understood that there
he was celebrating in the liberation
of the Jewish people from the slavery of
Egypt and the release of all
peoples be a good metaphor about the
liberation and I admired that about him and
that interest he had for history
of the people and had done this as
a booklet an adaptation of the haggadah
that as the booklet is instructive of the
the ceremony where there was freely
compiled things had eliminated
some had translated back to
to do something let’s say you have to
see with your values and your ideas and
being transmitted are the grandchildren colors
let’s go to that little book
I played the part of the
performance because it already showed some
this some anomalies about it
and then he called me to go
Saiar and argued that he did
he asked me to read with more emphasis
I read that poem that I do not no no
I managed to appropriate melo and also more
emphasis and I went back to say and we
We laughed but then no longer discussed
I agreed with this about the
declamation already had some small town
I did not like the style that he
I was asking and how was it not
director and I was still not an actor
I did not know how to transfer any
problem so that I own it in 2m
he showed me a form and I before that
form was inhibited
finally some time later this one
I revived and I realized that there were not
many more of those instances and I gave him
the taste but I also can not appropriate
of the problem and we are here to be able
be some of the group manolo does not walk
with the theater group we started
she was already actors but I think
only now when I went back to look for that
poem thinking about dangerous ideas that
that represented an idea for me
dangerous
I understood that what had happened was
why I had not finished
appropriating that means before, not the
had made it resonate and then not
could have that moment alive or
organic as we said at that time
good he what happened to me with
the poem was also clear that I do not know
it looks like nothing in what I was wearing
to act that was wanting to be an actor
the album is probably high product
of some some emotional deficit what
affective or some
to a phase shift that also worked
as an attention as a force of
that I wanted to go up
stage
that of capturing attention and doing
something with that
or maybe it was first attention
take it to me with time out there
I started to love theater and cinema more
that the fact of being an actor and then
I started to understand that I had the
Whether such tension is not
take it all necessarily to me
but do something with that and something that
It could be constructive but I thought
in a metaphor that rocket scola
propeller that needs the propellant to
take off but then you need
get rid of that propeller that
it generated the combustion the takeoff
because it is a weight which could not
travel very far
I also think of an image that is
the one of an actor
when they see you a movie and a scene
who like to like them
Actuated is good to try the exercise
put pause in a close-up of the actor
that you are not making a living
present moment and look at the
little eyes and we usually discover in
those little eyes
besides that character that is in
that moment reconstructing something of the
child that has inside playing
enjoying we see the actor a shine in
the eyes that is the happiness of an actor
of being able to be playing and filling in
that situation
this and doing something with that attention
what is being lent to them then
when the poem was thinking now talks about
40 years in the desert
I’m not going to do the exercises
think a personal fact that is
seems to have spent 40 years in the
desert because I will not find it
but I can think of an image that to me
I hit myself like this
first 40 years profess my 40
years old are already 41 should have
called last year to do this but
in my 40 years going through something
trying to reach a land too
is another part that complicates the poem
because beyond the village
the secular question mentions the earth
promised that where the big mess is put
not because when a god promises a
land and not without the papers the
reservation tickets another god promises
enjoys and is very armed quilombo but there
I thought a promised land more
personal as is the initial place
that first theatrical love or a place to
where I want to go and slavery
also to think like new types of
slavery and I think of a group of people
trying to escape from the idea that not
they inoculated from the meritocracy where
is the best thing is save me compete
to see who is the best and who
have more merit as then we already
puts in a competitive situation
the next with companion
see who is better and not a question
more collective than also when these
it gets us into acting is
problematic because we want to be there
we want to receive attention
recognition affection but if we
we put in the question of doing the
better than sometimes we can bring some
kind of show
we also do not lose the fact
collective that the essence of the
theater and cinema and acting
but it has to do with this too
I think of exacerbated individualism not
be and from our profiles those
individual profiles that lately
We are designing and refining every time
more how he unfairly tried to put together
here arbitrary groups and try to
reduce and stratify the maximum
possible the likes of you that is a
game obviously but but sometimes not
It is practical that we open a
profile and tell us good do not give us
those suggestions for you
you saw one enter the enter the new
technology that are waiting with
those suggestions so generous that we
they avoid a search time finally
there are and several things that interest us and
we are not going to waste time
if we already have among those suggestions
several things that we know are going to be
effective that will not bore us
because in addition to all the trace that
let’s leave control
motorcycle begin to invent these
algorithms that fit calculating up
what turning point in the series we
they keep more hooked because they go
making statistics of all e
individual
what kind of endings do they leave us in
continuous playback and we are leaving every
time putting together formulas for not only not
just for us because at the same
time are not reducing in groups and
they are refining that effective formula
Effective effective where there is no margin
of error less and less
every time we reflect less our
contradictions our gray areas
they begin to see as more certainties and the
time that we find it viola comfortable to go
direct to and not go through and find what is
a possibility that also gives us
technology is not and there seems
that what someone said
Felisberto Hernández on how he
he wrote his stories he tried to
explain that for him it was more like
a plant that grows somewhere and
that he tries to stalk and at the same
time to see if that can grow though
do not know how and try to make your
conscience intervene as little as possible
because he knows he’s going to ruin
organized from the plant and that the
plant has no idea what the
laws that found the patterns of their
behavior but will you try that
the consciousness keep it a little away
and that idea as well as of
that kind of creative process that
more has led us to find things
unexpected those things that we found and
who question us do not lead us to a
place that we did not expect
suddenly out there and what is not
we hope it goes through the turning point or
by new and novel ways but
we are all in that then good me
I thought there and that’s why I went to this poem
thinking that it could involve some
kind of danger to me this something that
is not within my suggested ideas
that they put a different place to me
forces to do an exercise of
appropriation
eid to expose me to a living moment and
then this one I booked the reading of
this poem that a fragment I will read
I have not read aloud for a long time
weather
this fact in the trials that in the
rehearsal that we did this cat did not read it
well then this one
this poem actually when I arrived
my grandfather’s house came in and he
I said this
so this this poster paul muni
You can say that I looked like Paul Muni
and and then he invited me to read this
poem this and well I’m going to do it
little I think how he would have liked
that I say it because I also want
please but this one also trying
of generating something alive for me and in the
stage but good I had nothing that
see I do not know if they had observed him but
the counterattack was merely this one is
a coincidence because it is a picture that
he gave me a friend of this one
this is Paul muni and this is a
movie that I did not actually see I gave
account now when I thought about this talk
this and that I am also prey of that
suggestion to me and that I never never got
this search happened further to see if
I find it is not this movie that
it tells me something important wandering the
The road is still long and still
many battles
above the pilgrim stretches before
you a very vast path abandon
the paragraph that needs garaia is enough
40 years you were between mountains and in
the sand thousands left their entrails
but do not stop the remains of the
dead slaves perished on
the certain bodies we pass while
they are corrupted below the weight that
of Egypt ported with work
up then wandering out to the plain
more to do in silence
our safe march do not go your
steps to wake up from your dream
the wilderness sleepers but put
commitment and in your hearts
you will hear the noise of the steps
light and also the sound
thank you very much
[Applause]
kimi
”
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