We have seen the city, all things unfold through its balcony.
The action is the viscous flow of a festivity.
One feels too reduced, turning the light, looking for clues.
The walkers are almost always indifferent to what surrounds them.
We are totally used to them.
And yet, we do not see humans, what has led us to a directionless drift, or a place above.
In search of fortuitous encounters, exchange of words that tells us what the road leads to the streets.
What is that we see and remain hidden, in the absence of a deep gaze.
To know the life of those who work on the street, with their life filled with miseries and joy.
We begin to ask the trancers what they would portray if they wanted to make a film in the center of the city of Mexico.
Until we find a man whose words surprised us.
He told us that he would teach us how survival is in the city.
That is how our journey began.
Do you read?
Yes, I do.
I am selling a book of rights.
But it is a book more than a book of rights.
Why?
Because it is a book of a doctor of rights.
Advocate and judge.
Yes.
He survived Adolfo Jitre and they are stable.
I am asking for 50 pesos for that.
Yes.
It is an ordinary version.
The doctor is like a coffee.
As I am a thief, but a thief of hidden treasure.
I am the owner of the palace of Bella Sante.
It is not mine in possession.
If you do not simply watch it, share it, enjoy it, live it, feel it, be it.
Be with it.
I cannot say that life is a fortune or being born a great happiness.
But I was happy and I feel fortunate to have been born.
To have been born.
I was the first son.
I was the first womb. I was the first born.
I am a circus.
My mother is a very good and generous woman.
She still lives.
She is in Havana right now, not in the province where I was born.
Because I am rural.
I was born in the countryside.
I was born in the high area of Guantanamo.
But as a human being, it is a nomadic being in the race of time.
My family, especially my mother, although also my father, were divorced.
They moved to Havana.
I had a great fortune because my grandfather was a teacher.
Juan was the teacher.
I was born in a teacher's house.
He was a studious man.
He knew all about science.
In fact, our origins come back to the Haitian revolution.
In 1700, the black people in Haiti were rebelled.
They were subjected to the French.
Many French people from Haiti, who are close to Cuba,
are now in Cuba.
And they were my ancestors.
Why do you consider yourself an extraordinary person?
For all the reasons.
I have been able to learn to generate my own joy.
I have no power, only my life.
And I do not need to submit to anyone,
to any will to feel myself.
I do not have to impose.
Because I also believe that the extraordinary human being
is enough for himself and the man of today,
and the one of tomorrow worse.
I do not want to be anything.
Do you consider yourself a cynic?
Yes, I am a cynic.
But I am also a historical and peripathetic.
Yes, I am a fusion.
Do you consider yourself a modern god?
Ultra-modern.
In fact, God is the first philosophical base that I have of God.
One to you, another without law.
I have been talking about Stan.
I am Alexander the King.
This is the dialogue of God and Alexander the King.
And I, God, the dog, the cynic,
I come to make you more honored to your life of Caracol.
What do you want from me?
Nothing, that you do not take away from me the sun.
My power is amazing.
But I have no more shadow.
I can make you rich.
I know it, by making me a shadow.
Rich manjare of gold.
I, with hard bread, have no more.
I drink the chitra in a glass of gold.
I drink the water in my hand.
Everyone, as much as I am,
I go with glory to his running.
This is the layer of the crime.
Crime without layer. The power.
Everyone goes down.
I have to stand before me.
And you are the owner of the world, not the owner of you.
Goodbye.
Well, I can't break your cynicism, the cruiser.
Goodbye.
When I get rich, well, you take away the sun.
And to the common share, to the grave,
another impeccable, miserable, said the King.
I am Diogeni.
Diogeni was a very real individual.
Diogeni...
We were looking at the human remains
of the old cemetery in Greece.
And Alejandro Esmando presented himself.
And he was playing with the bones.
And looking at him.
And Alejandro Esmando asked him what he was doing.
And Diogeni said to him,
I can't distinguish the bones of Philip,
your father king, from a slave.
Yes.
We are the same.
The best of all, definitely,
the man has never been accompanied.
The man has always been deceived by the company.
Mom, dad, wife, son.
He said...
If he were a philosopher,
a Roman and a politician,
if the men, talking about women,
knew how soon they would forget the widow,
they would give up to die.
We don't know women.
Men don't know women.
Women don't know themselves.
Even if we say and create,
and go to the church and pray,
we pray.
That's not mom, that's history.
That's the drama.
Do you think that loneliness is the condition of the man?
Not the condition of the man.
But it is the condition to be a man.
If you are not approved of loneliness,
you are not a man, you are one more.
That's why people go out on the street,
holding hands,
or the mother takes the daughter,
or the boyfriend takes the girlfriend.
If you are not the owner or yourself,
how are you going to be the owner of someone else?
Then it's better to be the owner of someone else.
The man is in charge of all the angles.
Because there are two lonelinesses.
Conscious loneliness and unconscious loneliness,
that the majority, the old ones, look at them,
alone, abandoned,
look at the people who were out on the street,
all alone, alone, alone,
full of sad memories,
of sorrows,
of tragedies,
of uncomfortable situations.
Communication with the sea,
conversation with the stars and the spirits,
and the dark hour of the end,
only the dead are left.
The
everything is the same.
How did you start telling stories?
I was protesting against the government in the subway.
Why didn't the statues come out of here?
It seems pathetic to me, the political protest.
I was like this for a month and I said,
what is this? It's absurd, it's completely absurd.
Because what protest?
Well, yes, everyone knows, I can give you a paper.
But doing it in that way is pathetic,
but completely pathetic.
It has no life.
I'm doing something that is not mine.
To do it mine, to do what is not mine,
so I started telling some poems,
a poem from the...
It was from that December of 2008,
I found several phrases from several festivities
of the boys from Greece who burned Athens.
Yes, I liked it.
I gathered them from several festivities.
I better say this.
The government...
You know, the government is a base.
But yes, yes.
Don't criticize us before understanding us.
Don't censor us before listening to us.
Don't pretend to understand us before speaking to us.
And we were waiting for them to support us,
and we were waiting in vain.
In vain.
Falsal lives like all of us.
With the pants down,
waiting for the moment of our death.
I want the philosophical essence of things.
The philosophy of art must be sold together, right?
No, I'm a theater guy and I handle the technique.
I handle the technique, Stanislavski.
And also, the most modern techniques of...
Trans theater.
As they say, German theater dance.
And what's up with that?
Where's the essence?
Where's the message?
A message.
Like the neuro-linguistic programming
that nails a arrow in your head.
The same thing.
Because it's part of a struggle.
My philosophy of life.
Like...
I grab something from the deconstruction
that says, it was you.
What is the dislocation of the senses?
You can't find a single sense anywhere.
A single sense of nothing.
You can interpret it all the time.
You can create your world all the time.
So why do you follow these same little papers
that you have given us?
Options for your mind.
What options do you want?
To fool you.
To be very intellectual.
To change.
To act.
According to your therapies,
that shock that they give you there,
at the university,
the WAA, religions.
Please.
And individuality?
In the sky.
In the sky.
Mexico City in...
2030.
To be honest,
that's the number you like.
To enter the center.
Like a big commercial center.
That's how it seems to me,
what's going to happen with the measures
that are being privatized.
That's why we have to...
We have to be aware
that this place is for everyone,
not only for Carlos Slimo,
or I don't know who,
Lucifer or whatever,
to know who Diablos is for.
But not only for a person,
it's for everyone.
And that's what we have to fight for.
A little bit.
In the center of the city of Mexico,
you can find everything.
Whole families.
Lonely men.
Fiestas.
And crying.
Everything fits in this space
managed except for a totality.
Everything that can be achieved
is by collecting fragments.
Parts of a puzzle that doesn't fit
in one with another.
The smiles that no one already
attends and interact with
an apocalyptic vision.
A Mexicanity for tourists
lives with a globality
for its inhabitants.
Beings that live in the margins
that have found a freedom
on the street that many miss.
While many of them
wish for a more stable life.
We would like to be able to
define the future of these men.
Have some thesis to expose.
But in our deriva we have found
opinions of the most diverse
without a synthesis possible.
We confess that even
we would exchange this uncertainty
for a fatalist feeling
to have a certainty.
But not even that
one breathes in this city.
Let me tell you that the people
that I admire the most
in the experience of my life
are people who live on the street.
They don't have anything
apparently.
But for me they have
they have a motor that
I would love for everyone to feel
what they see and feel.
Because for me it has been
so impressive
that I still haven't had time
to digest it.
And
there are also very terrible things.
But
that's why it has
made everything terrible.
And it has made me want to
know that sometimes
we don't do everything
to put a price on it
as it now imposes on us
our time, our culture.
I don't think it's the way
to be
cotting every act of our life,
our love,
our way of reproducing ourselves.
We all put a price on it.
And I think the people on the street
have overcome a little better
than any other human example
that I have seen.
I have traveled to other countries
and I have been in other places.
And in every part it is the same.
We are all people with a heart
with a terrible loneliness.
And we would do the craziest things
for a little bit of affection.
When I played with a cart
I would open the door and open a family.
I always wanted to have a family.
I always wanted to have a connection
with women.
And I wanted to find
someone who would
find all the love I have for her
in one.
So in the aretes
it is a way that people
can help me
fulfill my destiny.
And I like it because
normally they represent something
that someone gives to someone
and I hope it means
that connection search
which is another of the human parts
that intrigues me
and makes me want to live
which is the capacity
that we have to integrate
and communicate.
I think that is the most important
sense of life
as a society.
You told me that
you are like someone who got lost.
How was your life before?
Well, I was born
in the Lomas de Chapultepec.
I studied in Newton.
I studied in the Instituto Cumbres.
And suddenly I realized
that
I never felt very at peace
in that life.
I never felt very comfortable.
And even though
I am a son of
very working and noble people
I never believed them
and never bought them their way of life.
My life is miserable
but I did not see their life better.
And in my search
I have tried
to
make a difference
even though I did not find it.
The only thing that remains is the dignity
that I have ever had
or that I have never asked for help
or that I have never found
but in reality
the paradox is that
every moment I do it personally
and I have to live with it.
I could say it all in a small poem
that once occurred to me
that I did not find it.
I searched for where to sell the delicious stones
and I was not there.
I searched for where the music was
that unites us and so on.
I searched for where the eyes are
with bright hearts and so on.
And suddenly I believed.
I believed in the bottom
and in the bottom of a fountain
but it was not me.
It was someone who observed me
and then I understood
that I no longer need it.
I searched for where to sell the delicious stones
and I could say it in that way
so timid
like everything we live.
The streets are a battlefield
that does not belong to anyone.
Maybe in the future
even the streets will give a refuge
or maybe
everything will be so chaotic
that everyone will end up escaping.
The future of all of them is always uncertain.
However
there are still corners
that have their arms open
showing us the bright side
of this dark city.
They have shown us that all the people
through their stories
turn their misfortunes into dignity.
It has not left us
to pay tribute to the survivors
of this murder
letting their words speak for themselves.
When I was born
my father was 54 years old
my mother
at the time I was born
died
and my father
got married
his wife is practically his age
so I grew up with 2 people
when I was 5 or 6 years old
I was 2 people older than 60
so I grew up in an environment
of older people
I was a little intellectual
but not because I was really
an intellectual
but because I was a little boy
who used to listen to older people
and then suddenly he was an old boy
Do you think this has to do with your work?
Yes, I think so
Definitely the work
I mentioned last time
of two old men
who are meeting with their child
maybe I am a middle-aged man
well, not middle-aged
but middle-aged
who feels old
I recognize him
but he would like to be a child
I think yes, definitely the work goes there
in every sense
the very pragmatic part
that I was talking about
the man who plays with a Rubik's cube
the other old man
who also plays with bubbles
in the end both of them are playing
one from the
the exactitude
from the rectitude
the perfect, the mathematical
bubble of soap
at the age of 15 I went to the military school
the military school heroico
I went out in 1993
a month before the conflict
in Chiapas
when I was very old
I was 21 years old
I had to be in the conflict
in Chiapas
and it was
a very tough counterpoint
I don't know if you edit it
but it was a very tough counterpoint
having come from a training
a little more sensitive
to suddenly getting into the mess
with the routine
or with the dynamics
that can have an institution
like the army
and yet I was practically
15 years old there
the first four
were from school
then others in Chiapas
I returned as a student official
to the military school
from the side of
having always been very sensitive
and being related to art
I allowed myself to humanize
and understand that the other bastard
who was on the side of the posterior
to the trenches
was also a human being
he was not a pimp
that was very good
I understood that the soldiers
were neither so bad
nor so good
nor so good
in terms of the circumstances
simply and simply
we were the social actors
or the ones we actually
faced
to the tangible
and that was to be picking you up
while the
sub-commandant leader
took the best coffee in the world
and smoked tobacco in Europe
and while all this shit
from the other side
of the bad government
was a campaign
and those who were fighting
the mother were the least
indicated to do it
that also allowed me to understand
and not to clavate
we are the heroes of the country
and we have to see in the mother
these rebels
so the one
who could seem something so weak
as not to have fixed positions
I think it has allowed me to survive
in those two universes
I was still in the army
I was still in the Ibero
and I was entering the UNAM
when one day
I already had my makeup
I already had my dress
I already had everything and I took care of it
I brought a little bank
it was a bad thing at that time
and I ventured
to go out to the street
I'm going to be honest at that moment
because of Bohemia
because of the romantic issue
with the money
at that time I think that was why
there was no economic need
because I had my salary covered
I was still living at my parents' house
and I didn't really have a need
that was not beyond the desire
to share
what happens later
I leave the army
so I stop having a safe entrance
to hug now
100%
what is the scenic fact
the theater
and since then
this hobby work
becomes a life modus
there was a part
that I was very interested in
when you start to relate
more with the rest of your similarities
you start to feel an absence
of yourself
so as the Greeks said
that the animal
that is a politician
and a social evil
when you start to feel
a certain nostalgia of yourself
and then you start to
no, no, no, no, no
that word, no, no, nothing
it's not self-compadism
it's not
it's nostalgia
about you
and then
that feeling of solitude
I like to manifest it
through the pantomime
in the silence
in the not to talk
in the being with you
in the being able to be standing on top of a bank
now that I do this variant of the statue
and being with you
and start to have awareness
of how the air enters your body
how it goes out
maybe suddenly you get distracted
and you start to think about the girlfriend of the secondary
or that you haven't paid the rent
but most of the time I try to be concentrated
in me
about what's going on
how the wind is blowing
or how the face is pink
if it's cold, if it's hot
and I think all that
can only be done in solitude
and I think the pantomime is paid
for all that self-knowledge
there in the anecdote of a guy
who
threw me a coin
and told me
that I would like to be like you
and I asked him
for a mimic
why?
he said I would like to be happy
and he left
and as he returned in 5 minutes
and he threw me a coin
and he said thank you very much
and I just realized that I still have time
to be happy
and he hugged me
and I
I'm very very very sensitive
and of course I got off the bench
and I started crying for a while
and that kind of details
are the ones that I think
would be very difficult for me
because it's not
sad
sad
sad
sad
sad
sad
