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Fabián Vena: “Today the television is a decorative device, the famous stupid box ends up being stupid”


Fabián Vena talked about his one-man show ‘Who am I’

Fabian Venaspeaks with passion and reflective spirit about the sole proprietorship Who I am and he confesses that the name of the work is misleading, intriguing and very compromising. Vena is a minstrel, a traveling artist who loves to tell stories. He never dedicated himself to working in any other profession other than acting. Since he was little, when he started studying theater, he realized that for him it was healing.. Teleshow He spoke with the actor about the story of a philosophy professor who teaches underground.

—Have you been a philosophy professor for more than three months?

—Since the beginning of September. And from there we did some touring, so we said okay, we’ll keep it to ourselves and wait for the summer. It is a very original project. I needed the public to feel it definitively, especially to know if these ideas that are born in the living room of a house end up being forceful and theatrical to impact the public. So we did a kind of tour in the style Les Luthierswe passed by rosary beads, Cordova, Santa Fe, Montevideo and when we came to Buenos Aires We were there, very firm, which also allowed us this summer to have a very strong proposal, and one that is growing with word of mouth.

—Word of mouth is almost essential, right?

—It really works within the theater and very well, you can do a great advertising campaign and, in everyday life, What happens in a word-of-mouth recommendation always appears in an abstract way, but ultimately it is what lasts.. Suddenly you are at a birthday, at a meeting with friends and they ask you: What are you watching? What did you go to see? That’s what works. When every now and then they make a video of me when the audience leaves the performance, they are left practically speechless, they look moved, amused and have understood the proposal from a very powerful place. Talking about philosophy in theater is a great challenge. An original idea, a teacher outside the system, who provides very successful classes clandestinely, and there is a hidden truth that is beginning to be revealed, It is only for those who are brave in seeking their truth..

Since he was thirteen years old, he has never worked in another field or in another profession.

-What are we gonna see?

—Without a doubt you are going to see a comedy and comedy has its own laws, its own rules. And in comedy you don’t end each idea with an impact or humorous effect. If within a comedy you have a section of scenes that are either reflective or exciting, then It’s a dramatic comedyin this case I have an obsession with genres. From the beginning to the end there is not a single text that is not within the framework of philosophy.. The guy introduces himself, tells who he is, gives class, tells why he was fired. The actual content is a class. Within the class, five human virtues are analyzed, from their point of view. The character has the spirit of him, he is a character that beyond his own characteristics, and always within the realm of the theatrical, is still a guy who lowers philosophy in a very everyday way, makes you understand it in a very simple way.

—You found what you wanted to tell…

—Of course, and within that search, a theatrical art show has rules; The first and fundamental thing is entertainment, it is the first watchword. Then come two or three rules that I also followed, which are important, which are basically rigor in ideas, artistic rigor, in the field of scenography. I am not only fed up, but dangerously worried about everything that involves seeing a set in a theater show that passes for a decorative side, many times they give you a set worth millions of pesos that counts for nothing because it is a simple decoration. The theater intellectual comes and goes crazy with the show and can analyze it and can enjoy it beyond the analysis. And someone also comes who goes for the first time and comes to the same conclusion.

Pol-Ka closed, you worked for many years with the entire Adrián Suar team. What generates you?

—I think it is within the line that we have been traversing for a few years now. The other day I remembered, and I asked myself, when did the unitary stop being a business? The unitary for us was a registered trademark. We have traveled together with Truth Consequence three years of success and winning international awards. After a few years, they themselves knew that the unitary was not profitable economically, that television was already demanding to pay per can per episode. So one chapter a week no longer works for you. We are already beginning to feel a decline and decadence of what has to do with the artistic search within television, with the format and the television business. Today even the strips don’t even work. I think it has to do with the line of the moment that we are going through in technological and digital terms. I tell my little one, ‘today I’ll turn on the TV for you, he says no.’ He watches YouTube, he has the world of it, his own channel on the phone, instead of sitting down to watch television, to watch a movie together, the guy comes and tells me ‘hey dad, I got so many subscribers for the video that It went viral.’ Today, television is a decorative device. Nothing more than to play with Play.

Fabián Vena Truth Consequence Channel Thirteen

—But do you think it only happens here in Argentina or is it a global effect because in some places the soap opera continues to run?

—I don’t know how much longer it’s going to last either. There is something of the famous “caja boba”. that ended up being stupid. In fact, I always saw television as a system of reaching the public in an even extraordinary language. I have been fortunate to do very important artistic things within television and I have always had a relationship with television of that caliber. I have not done things on television that I was not identified with artistically because I come from the theater, because my support in life has always been the theater. I have spent entire seasons, enormous, very long, without doing television, without making films, because my base has always been theater. So I have my life covered based on the theater. Every time I have wanted to take or have been presented with the opportunity to do film or television, it has always been because I agreed artistically with the project and not because I needed it to live.

—Platforms are already part of our daily lives…

I think this moment is a very big moment of transition that we are experiencing. Because in fact saying ‘well, television doesn’t exist anymore, well, what exists for audiovisuals?’ The platforms, what do the platforms have? They are transformed no longer annually, but almost monthly. There is also the large platform that stops investing here to go to another country because it is cheaper. Not to mention what it means to make a series with everything it requires to achieve a good product. Don’t even think about wasting time writing because it will end up in a drawer. That is what we are experiencing today.

—Did you immerse yourself in that world?

—I get on a platform when I have quiet time at night and I start to see what I see and I’m there for an hour, I have fun because I have the head of a producer, I analyze: What are the formats like? How do they sell them? How many chapters are there? What do they repeat? What is the aesthetic? What country are you from? When I choose two or three, which arrive as finalists, I get sleepy, I start watching one and after 15 minutes I know more or less what it’s about. It is full of proposals. Most of them copy themselves. You have to search a lot to find an original product. And even later it is to your liking.

—Have you ever done other work?

-No never. I was always an actor. I started at 13 years old, studying. At 17 he was already an independent professional and after two years he arrived Relief 5th year. At that point I was making a living from acting, of course I lived with my parents, that helped me. At 18 she had three plays on the same day; two for children, one for adults at night, which allowed me to earn a mango, get home and say: I’m here. He had an actor’s license. Of course I didn’t have the responsibility of a large family like the one I have today.. I have always dedicated myself to acting and it has always been a very noble relationship for me..



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