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For a claustrophobic and restless moviegoer like him, it makes sense that the theater is not his dedication, he says. But things have changed for the journalist Alvaro Díaz (1972). Very close to his home, in the municipality of Providencia, and in front of a café and a toast covered with avocado, the partner and the artistic couple of Pedro Peirano, with whom he founded the production company Aplaplac there are 17 years, confesses that he never liked theater. That the darkness and all these silhouettes around him make him nervous.
"I'm bored in the middle of the work, I focus more on people, in the room and I calculate the price of the tickets and the public who has to know how much they are earning. absorb through the effect of the theater, "he says between sips, and adds," But as years ago I made the scene, the sense of survival interested me " at the theater, but I still have trouble getting an opinion As far as what I see: I do not know if I like what no one else will want or, worse, if I do not understand what everyone understands. "
Graduate from the U. from Chile in the 90s, ephemeral it was his way through written journalism, in such media as La Nación and Paula magazine. More sustainable and more successful, on the other hand, he was on television, in the former Channel 2 Rock & Pop (Plan Z) and, from 2003, with the children's series 31 Minutes. Even in the movies, with the script of The Forest of Karadima (2015). But in recent months, Díaz has been involved in "an experiment": writing his first work. Conditional title, and is a musical that was commissioned by the UC Theater for its 75th birthday. It will begin on October 6, he says, and it will be directed by Elvira López
"The instruction was clear:" We need a musical, "he recalls." They wanted that the subject is interesting and that I can think, and I am very concerned about education. No education in terms of struggle, but these 8 hours that a child is wasting in a clbadroom in Chile. This is my favorite subject. What the heck these kids are going to school, with a model that no longer works and with the pressure of these adults who tell them that they are playing the card of their life. Something that makes me very contradictory as a father, because I ask my children that they study, but basically I tell them: "Come on, do not listen to me. I am his father and I must behave as such. "
His protagonist is a teenager who has just been discovered portraying with scorn, according to his teachers and inspectors, a school badistant. "The child is conditional, turns his bench against the wall and curiously begins to do well in academics, but promises not to redraw." In a certain way, he rebels against that talent that makes him uncomfortable. has been unfairly punished, "says the author.
He just released his first album, how was it, in this case, to create a new story and only songs?
I've always wanted to be a musician, in fact I compose 4 or 5 songs a day. The composition is the only thing I do without asking myself if I am fine or bad, because it is very natural for me. And in this case, I think that each story has a rhythm and that it can be translated into songs. And here there are all the styles according to the characters, some pop and others more rock. Pablo Ilabaca (ex-Chancho en Piedra) took part, who took the musical direction
What do you think about musicals that are made in Chile today?
All those who call themselves "The 80" or "Back to 80", I think they're pretty bad. Very layered. I wanted to see the local version of Mamma Mia, although there is some ground gained with the music, but I did not do it either. I think that in a country like this, which has great musical horizons, like La pergola de las flores and La Negra Ester, it is necessary to give more dignity to the genre and to believe that the theater can work with musicians Chilean.
Puppets on stage
A few hours before this interview, Alvaro Díaz landed in Santiago after crossing Mexico. With Argentina, Brazil, and the United States (where Pedro Peirano lives today), it is one of the countries he visits most often because of the success he still enjoys 31 minutes. It is precisely on the Aztec lands that Tremendo Tulio Tour was created in late 2016, fourth live based on the children's series after the success of the World Tour (2012), Radio Guaripolo (2013) and a version of Romeo and Juliet at the Santiago a Mil Festival of 2016.
The new story falls on the eccentric news host Tulio Triviño. Deep in a deep depression, his friends Juanín Juan Harry and Bombi are thinking of organizing a tribute in his name, and while all is well, his ex-girlfriend, Cindy Miraflores, appears in the audience and a new panic attack. 39; invades. and threatens to spoil everything. After a tour in Mexico and a performance in Buenos Aires and Chilean Lollapalooza, on July 18 and in the middle of the winter holidays, Tremendo Tulio Tour will arrive at the Municipal Theater of Las Condes.
"This is the first time we enter theater with this show, only for those who have already seen it will be a reworked version of what we have shown since 2016," warns Diaz. "The story takes different aspects of reality, and in this case, we will parody the tribute show.It's been a while since pop culture looks at itself, and many pay homage and make a facelift to look The winner here is Tulio, and there are winks to the telethon and politics, as with the delivery of a bust by the mayor. "And unlike the previous productions, which were more theatrical, it has a greater sense of spectacle and mbad. "
31 Minutes on Chilean TV miss you?
Not really. The TV is super exhausting. If you say "this year I'm going to do TV", you do not have time for anything else. We did three seasons until 2005 and a fourth in 2014. And nowadays, and because of the costs, it's very difficult to redo a TV season. Although more expensive, it is easier to make a movie. In addition, we convinced ourselves that the logic is to turn and show our music. Each group does it. And no matter how many presentations you get, live streaming allows you to measure reactions and see what adjustments to make. If we get bored in some parts or if there are songs that sound bad, we can change everything.
With Peirano living in Los Angeles, do you feel that you have changed the way you work? [19659002] Now, there is a real division and it is territorial, but with Pedro we are working on the same dynamic for years: he writes and I take direction and music. The relationship we have is very symbiotic because we have known each other for many years (from the U of Chile) and we already know where each person is squeezing the shoe. And we also have our differences. As a sculpture, for me, the tickets for the stage are always on the left and for Pedro on the right. And he has his logic: he is left-handed and I am right-handed. That's how we are opposed
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