ლლლლლლლლლლლლლ჌ილვე ელლედდილლდ ბელლდე Ⴭლდკ ბლლბკ ენთედიბე If I could hear you, if I could go to the woods to go, if I could take you to the woods to go, if I could go to the woods to go, if I could go to the woods to go, if I could take you to the woods to go, it would be awesome.
Faster than Bhargava,
Vijay G clashy
The longer the
life he tell tomann
All the rose
Then all music
Be started
If at some point there was some conat or something that I wanted to think that I could prosper,
now of course it is totally dismantled.
There are four or five audiovisual producers that are dedicated to selling commercial products to public television.
I have a handful of theater companies that survive, but as they can.
Aki a kultura galega sempre forneceuse da bontà de do artista pura e duramente.
Assobras queden nunca echenciño inevitablemente, sempre pasou e mesmos sempre pasaran,
metas cosas sempre sigan sendo asi do publico no ganaketicir o publico bayo ke se yo freze.
There are a series of people, entities, entities, which are those who are programming, deciding what or what publico bayo ke publico bayo ke pote acceder.
And not all publico can access other types of spaces in a different way or alternative than the official ones.
So if you can't access those spaces, then you're left with no more crucial anonymity.
There is no other tool.
And then there is the ability that every artist has, or even psychic strength,
is willing to get to know, to do that sale of their own,
that not everyone has that ability.
See why we don't want or see why it's not really an ability that not everyone has, of course.
So the fact that it is given from your house, from your computer,
go up to the cloud, offer it to the world and trust that at some point
someone will fall for that space or in that context at some point.
There is no much more alternative now,
but it could also be organized very well.
The first thing to organize is to get together, to get to know each other,
even if we don't do that.
But I think that this should also be for years,
years of individual work ostracism.
At the circumstance, you have to work very hard,
you have to work very hard, and you get used to it,
you lose a bit that in reference to community work.
That happens in every art, where we also see it in other social movements.
And I think that now in these last few times there is a kind of reaction,
a kind of need, because we see that it has not been private,
we have to survive even less.
So there is a kind of act of survival, of grabbing each other,
of ants, when they are not found to be able to float,
in a act almost of being human beings,
it is survival.
I think that there is no dialogue with the institution,
the institution has the obligation to do it.
In any case, we must demand that it buys its obligation.
There is nothing to dialogue, we don't have to ask.
We just have to claim that it is not by its own right,
just like it has other types of industries,
or of offices, or of professions,
that are also subvenged with public funds.
There is no interest in culture, I refer to the institution,
because it is totally politicized,
there is an institution at this moment of a power instrument.
And as such, of course, an artist is not convenient,
an artist emotionally is in a reflexive agent,
an MMO-transformer,
who is not interested in the public power,
he is never interested, of course,
unless he is never interested.
And that is a great problem,
I have to be clear, I am an artist,
I don't have to take care of selling my work,
of distributing it, of doing management,
there is a feeling that this capacity,
titled Praiso, that I like it too,
and that it gains life with it.
I should be dedicated to creating and knowing,
and thinking about how I do it to express myself,
but why do they force me to be a gesture,
you know, if I don't even remember the table,
many times I don't ask personally,
you don't ask for a subvention,
because it is totally hostile,
the other half, you know,
it is constantly a posterity,
an interventionism, a constant supervision,
as if, you know,
as if here if we were to mislead those few funds
that they give us,
and yet another aid,
we know that nothing happens,
because it is better to have more knowledge,
more malice,
but I think that I should really tell,
with a team of people,
each one specialised,
that he did his job.
Personally, I can't,
I regret it, to call,
and look, I can't,
and frankly, I have an aid,
maybe I had to take a course
to have that ability,
but I have to suffer a lot,
because I have to work hard
to create my things,
as above,
to be conditioning my creation
to post-sale sale.
No, not there,
because if not later,
it will be very difficult to sell it,
to whom you sell,
to whom you convince,
it is very difficult,
it is better to have someone,
who objectively
takes that work
and can offer it
another way,
I didn't have to know marketing advertising,
nor to be charming,
I didn't have to know it.
Part of it was the need,
clearly,
at the beginning,
at the end of the afternoon,
that I wanted to be an actress,
and it was that,
or that motivated me,
or that I wanted to be.
Then you start to discover,
you start to indulge
in theatrical texts
and you discover that there are no papers,
that I liked,
or that I could defend.
Then you have to start writing
the papers that I wanted to make,
or even there were some,
that I was interested in,
but they weren't even translated
to Galician,
I didn't have money
to pay an interpreter,
that a translator
that would translate us,
or they weren't edited,
or I didn't have money
to pay the copyright.
With which,
or I don't have access
to works from all the 20th century,
that for me,
the most interesting theater,
I don't have access to them.
So, inspired by all those works,
I was writing the girls, of course.
You are evolving as you can,
you get stuck at the beginning,
sometimes it's better,
sometimes it's worse,
but it's really a need,
an equal audiovisual.
I started,
let's say,
a photographic investigation
about me,
because of course,
since I didn't have access
to audiovisual work,
I didn't know
how it worked in camera,
with which I had to take my camera
and say,
ah, well, look,
you know,
to study myself,
what happens is that
I started to like it,
I started to go back,
the images came out
interesting,
but it was because of the need.
You don't have
cards to pay for someone
to take pictures of me,
I can take pictures of my colleagues,
but it's not fair.
He is also a fan of work,
he is.
So, yes,
he asks for favors sometimes,
but always,
always not.
So,
and also
because I think
he forms
a very immediate shape,
sometimes
in a house
something happens to me,
I do,
but well,
I could have made
some stories
a little more elaborate,
I have two means,
I don't know,
I really
do it for the need.
Above all,
it is about when
they are jobs
with a discourse,
you call it critical,
no,
without a risky discourse,
or a proposal
with more risk,
more experimental.
There are proposals
that need
a physical context,
even more sometimes
you need a public space
that is comfortable,
that has a good temperature,
that is not uncomfortable,
that is blessed.
You know,
because you are the best machine
to work with time.
There is no space
where you can
welcome the public
comfortably.
There are alternative spaces
that can be done
certain things,
but after
many of my work
I can't present them to you.
Numbar, for example,
it is not good,
it would not be understood.
I also need a public space
to enter an atmosphere,
to enter a reality,
I need a space
in some conditions.
It is called like this
in tonofa.
Sometimes I go to see
ideas,
I say,
what a pity,
what a great idea,
but
by the way of execution
how it was voted to be lost.
And that is to say,
of someone who has a beautiful idea
and who wants to get out
and has no way
as it should be,
get out of any way
or as it can
and I lose it.
And I lose it.
And I don't come back
or if you can take it back,
but I don't do it anymore.
So there are many things
that we are not seeing
or we are experiencing
because there are no spaces,
I mean, there are spaces,
there are.
No spaces are opened.
Make a circle
of audience
and public spaces
that are not
and that are not open
and I am for political benefit
because no,
because I don't want to
pay that day
or personal that is in charge
or
or because I am not interested
in what you are saying.
I have a license.
I have always had the alternative
of Creative Commons
that would be my personal option.
Right now I have
almost all my works
hung on the Internet
at the disposal
of the public.
I don't want to say
because I know
that one day I think
and I die tomorrow.
What a constancy
I want to say
that one day I think
and I die tomorrow.
What a constancy
I want to say
that one day I think
and I die tomorrow.
What a constancy
I want to say that one day I think
and I die tomorrow.
And there
I am in
my own misery
of an artist
or an ego
and that anxiety
of recognition
of knowing
that all those hours
that you spend there
creating
to reach the audience
today on the Internet
is the only way
to make it
a bit extensive.
There is no
so much
no
and no
only a license
because I don't want
to be
or because at this moment
I don't
so much
that economic exploitation
that in my works
and not like
its diffusion
there
it gives a little of me
and that part
it does not commercialize me.
That is the way
that I receive
and I receive
another person
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HEN AUTO SKAMPOS NŽÕ DASE ARTEZZ
¿PA QUEN POSYA?
TROU hours medieval folk
nan au terse
anoолот dred end matte
BE Ka...
fa reira zin vis¬ bocy
resonance
Visíbeis è un pòqitó pò resulta paradóxikó.
Un agarreira nunca è invisible.
Nunca.
I todas esas che m'acabas de numerals son ben visíbeis.
Ora ben a che ubeixó mais, mais de todas è a pasta.
Sexas pobre, teñas pasta o non teñas pasta.
Si tu t'es pasta lo gasoteatro, fas lo ke keres.
Fasote ubismes.
Nexia sta.
Non te spasta.
Estas condicionando.
O teu contido na tua obra.
A pasar por un shurado, d'una subención.
Que decido un non a conveniencia, un non de subencionar, un non è ese traballo teu.
Mais a lo, moitas veces,
sin demasiado criterio artístico.
Os criterios che se siguen pra dar esas pasta e
son d'outrotipo, non son artístico.
Asi che esa, pra mim, è una das barreiras mais grandes.
Despo si stanno a subreptizias, no caso de teatro.
Si,
senero è che trasversala todo.
O patriarkado sta in todo.
Mesmo non son mesmo yere che temos un poko mais elaborale,
esa reflexión sta ahí.
I se reflexan a
nas cosas che tes che a mesmo a veces se lexir.
Non o che querirías facer,
sinon o che tes che lexir facer,
porque sinon, sabes che non te vas comer nada.
I che non te vas interesar,
i che vas e superdifficil mover todo,
todo ese traballo,
enton pa che sa depoñersi,
pues poñersi algo facilon,
komodoks, bendible,
enton esa unha,
tamen pote ser,
o mercado pote ser otra barreira,
che invisible.
I ho idioma, si, tamen, tamen,
po che ahora mesmo
asi ente che stamos traballando e galego,
e po, o sea,
convenzemento.
Nos iva ire bastante millor in Españole,
bastante millor, bastante millor,
pero leximo facilon galego.
No mundo dospende do teatro,
das artes escénicas no visual tal,
o ratio de atrices por aktor
e bastante superior.
Nonostante, sabemos che todos os,
esto un discurso che si repite,
anotrasanos,
milles cineastas,
todos da dice,
non cambia, non cambia,
segen levando os meyores personages,
segen levando todo protagonismo,
ay muy pocos montages,
por ejemplo, ahora falo de teatro,
dondes esa exclusivamente 100% mujeres,
a majoria,
muitas veces de creadoras,
teñen homes detrás,
o diante,
nos procesos de creación,
non estan
manifestamente
defendendo ese progetto de las soas,
e come si necesitaramos
esa forza,
che nos da,
esa forza proactiva,
che nos da presenza masculina,
para facelo,
i después estan,
os argumento,
os argumentos,
das obras,
os temas,
en que role se nos pon,
enton eu,
tenyo mey difícil,
porque non son a mujer standard.
Así que,
eu non me van a chamanooka
de facelo de Julieta,
seguramente serein
mais alta que a majoria
dos galanes,
que ai por ai na tele,
non se admite iso,
seguramente serein
estavo de camionera,
i seguramente,
sabes,
pois tamen,
non son resulta demasiado femenina,
enton,
ne se sentido,
son un tipo de mujer,
che non e muy,
muy común,
asi que ne se sentido,
claro,
a men e a todas,
se sean mais altas,
o mais gordas,
o menos do standard.
As veces falamos
de esa,
de dramaturgia femenina,
o de creación femenina,
e a mi,
realmente,
muetas veces,
non me vale,
si se sta,
e ainda que se son a mujer,
che in creas,
se sta formecendo discursos,
argumentacións,
e maneras de poñir,
es universo femenino,
che me da tanta grima,
as ta dicir,
as presión,
se sta,
constantemente,
reflexionando sobro mesmo,
non,
digamos,
non aria de confort,
che nunca si es aida i,
enton,
realmente,
si,
mujeres che creadoras,
che traballan,
escenicamente, si,
pero me estan dicindo,
algo novo,
hai una reflexión,
sade,
realmente,
de,
o meu corpo,
che un atriz che mesmo,
si,
politico,
entanto,
ele as entrega,
traballo che seu corpo,
ofrece socialmente,
enton,
hai,
ele a vivencia,
hi establece discursos,
i os encarna,
pra defenderlos,
diante d'un publico,
diante de,
bueno,
ante asoci,
ante asociedade,
desde ese punto de vista,
si che os traballo,
e casi mesmo politico,
non hai discursos
de,
d'una reflexión seia,
donde se
evidencen as nosas propias
contradicions,
sempre,
we are in,
nesses puntos,
konfor,
multicolores,
donde
se expressa
unha feminidade,
bueno,
pues feliz,
empoderada,
d'aque la maneira,
pero menmono sentimental,
i donna presencia masculina,
seia ser,
porque,
mesmo,
nasobras,
en que so hai mulleres,
a presencia masculina,
sigue estando,
na argumentación,
i as veces un personaje,
pode estar muy presente,
na sua ausencia,
o sea,
que a mi,
no me vale de nada,
que me fagas cinco horas
kon Mario,
si hai yo protatamen
Mario,
i non sta,
i he protatamen,
enton,
claro,
hai si que faria falta
unha investigacion,
incluso,
mesmo,
technica,
bueno,
discursiva,
dos traballos,
dasobras,
dascrita,
dasmontages,
de kono,
sabes,
se por falta,
no se fiso,
sa reflexio,
unha das responsables,
dan do,
dan do,
da mia discriminazione,
mia propria autocensura,
i esa si che patralkal.
As mulleres,
nos edukan,
para pensar,
os omees para facer,
enton,
nos estamos,
muito mais,
somos mais propensas,
a autocuestionarnos,
muito,
do una manera,
moito mais cruenta,
do che fangos,
os fommes,
ke simplemente,
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不知道 ndelag me improbab
ndalam émo allocation
ndrem Matke
ndunset
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So, of course, now I've been doing it for two years, I've been evolving, but I'm still
I'm still going to have that lack, many times that lack of empowerment
to be able to reivindicate me and make me visible
because I also have the right to be here.
I'm afraid or not, you're interested or not, or what do I do?
But I also have the right to be here, because I'm doing it, I'm pushing
for years and years, asking for one way or the other, but I lack that strength
and that's what you see, because that's the strength you lack to
reveal yourself with certain guions, to reveal yourself with certain deals
in a shooting studio, with producers, with directors
in a theatre or in a much more fraternal environment
but it's still going on, it's still going on
and those papers are still being provided, without realizing it
we're still providing and trying to pass certain things
that we shouldn't let go of anymore.
That was very curious,
because you see that the co-workers came into that code
because they are also quite perfectionist and a bit pointy
so I proposed an action, but they said
nénas, nénas, but this can't be done in such a way
you have to understand this, you have to be in this position
in this body, in this attitude, in this such
so that made an environment
because it was all in the street, an environment, in that environment
that could almost be masked, you know, when we did the action
of Das Mordas Polochán in the October Square
I mean, people came in talking
and it was being produced automatically
it was almost magic
in all those actions when we were cooking
during Indies, people
and there you see why that energy
that you as an actor or executor of an artistic action
you are generating
and as I really am, I am authentic
and they were totally believing
and they were doing
and there was an exposition
but there was no co-public distancing
people could come and talk to you
sometimes not, or simply contemplate
and silence
but the most interesting was
how they responded to this type of proposal
it was very interesting
and they felt after they went up
it was an actuation
and it was very emotional
because something that, of course,
arts come inside
really to its function to transform you
emotionally and as an individual
and that's what we did
there was an interesting experiment
of how to combine the two things
yes, yes
arts that I know
that are inside that structure
that social fabric
yes, they are
as it is said, bringing and using
so there we could talk about
the figure of that artist
lonely, lonely
who works in the
ostracism of his separation
I think that now he is completely changing
a shèrfito
of artists that really emanate
the social movements
that are emotionally nourished
and discursively said
because there they face the conflict of the human being
there where they know
or the human being is not limited
or that is not interested
or that is that a person
is about to go there
and say, that could happen to me
where to go
I mean, to be able to do it in the books
where to go, normally in social movements
there is a street, a misery, a birth
there where to go
there where to go the great, great acts
there there are a series
and the misery too
the best or the worst human being
and what we talk about in a human being
is that you have to lose the fear of failure
and dare
totally you do not lose anything
we do not have anything there
we are in indigency
what do we have to lose
or we are going to do something else
there are people who do not have the option
if you are not an artist
what are you
there is no
I can do whatever it is
but that will be the way
I can abandon it
I can do it and it would be totally legitimate
but
we have to risk to fail
to allow ourselves to fail
especially as women too
try to fail
try to fail again
we have to work on our failure
to be able to experiment
there where new things start to come out
the unknown lands, the uncomfortable ones
nothing new comes out
interesting
something more
Thank you for watching
