YT YouTube2Text

YouTube2Text → Transcripts → Huellas en la nieve (Sub. Español)

Huellas en la nieve (Sub. Español) — Transcript

by Principe del Kerosene · 6,841 words · 1,073 segments · language en · Watch on YouTube

Open in transcriber Summarize with AI Download SRT/VTT

Full transcript

0:07[Music]
0:25[Music]
0:32my name is Roberta kerreri I am an
0:35actress at Odent a a threat based in
0:38holster Brooke Denmark Odeon theatre it
0:50was started in Oslo Norway in 1964 by a
0:54Jana Barbra who is still the theaters
0:57director the actors in the group come
1:00from various countries I am Italian and
1:03have been working in Odense threat since
1:071974
1:12[Music]
1:45[Music]
2:00[Music]
2:08[Music]
2:13[Music]
2:25[Music]
2:35[Music]
2:52[Music]
2:59[Music]
3:08[Music]
3:19[Music]
3:34[Music]
3:42[Music]
3:56[Music]
4:15[Music]
4:21[Music]
4:38[Music]
4:44[Music]
4:53[Music]
5:32[Music]
5:47[Music]
5:54[Music]
5:59[Applause]
6:10this is a work demonstration but is a
6:14performance in which I will tell you my
6:16professional secrets the dance that I
6:19just showed you it has been inspired by
6:22my meeting with theatre masters from the
6:26Far East during the last 10 years I made
6:30this dance three years ago in my
6:33physical training when I started at the
6:36Odeon theatre my actor training looked
6:39very different
6:40I started in 1974 at that moment the OD
6:45theater was 10 years old why the
6:49training of the actor something that
6:51makes the difference between the
6:53performer or the actor and the spectator
6:56is the presence that actor has to have
7:02what does it mean to be present we're
7:05all present here now but I know that
7:08some of you are more present than some
7:11other you as a spectator can let your
7:15body stay here and let your mind fly
7:19away far from this room me as a
7:23performer as an actor I have to be here
7:26with my body and with
7:27mind connected all the time another hand
7:32in our a is the one to liberate the
7:35Leone actor from what I would call the
7:37ultimate ism of the daily life that's
7:40why all the actors at the Odeon theatre
7:43has been going through the experience of
7:46acrobatics acrobatics is very important
7:49because it acrobatic you have to be
7:52connected with your body and mind if
7:56your mind leaves your body your body
7:59will fall and you will get hurt so we
8:04say that the floor has been our first
8:06Zen master waking us up every time we
8:10lost concentration one can use acrobatic
8:14with a strong and fast dynamic filling
8:18the room with energy but one can also
8:21use exercises from acrobatic in slow
8:26motion slow motion is a principle of
8:31work that obliges me to move very slow
8:37centimeter after centimeter I have to
8:43think with all my body in order not to
8:46fool
8:52and in order not to make quick movements
9:02now my hair will probably fall because I
9:08cannot control but my body I should be
9:12able to control
9:30I work with the force of gravity pushing
9:39and pulling slowly my weight replacing
9:47it I have to know how my feet has to go
9:52in order to let me come up without jerky
9:57movement and also just standing up has
10:03to be done very slowly if I forget a
10:09part of my body one centimetre for evil
10:55slow motion is not only a question of
10:59speed it's also a question of kind of
11:03parts
11:50and so
11:55we can work in the training with
11:57different principles and with exercises
12:00like for instance the acrobatic
12:03exercises are fixed we learn them from
12:09an older actor and they have a beginning
12:11a development and an end which are fixed
12:15so that we can teach it to other people
12:18or we can work inside the principal it
12:21means a frame of rules in which we can
12:26improvise I can work in slow motion
12:29improvising
12:31I am not following any exercise but just
12:40the rule of moving moving slowly and not
12:49forgetting any part of my body
13:09and at the principle that have been told
13:12by the older actor during my first
13:15season of the training has been the
13:17principle of the work with feet and
13:20hands the aim of the work with a feed is
13:25to find new ways new possibilities for
13:28replacing the body into the space for
13:31instance
14:45all the hands the hands that we always
14:48use and never dance with
16:29working with the hands working with the
16:32fields to know working with the feet and
16:36working with a hand finding a new way of
16:41a kind of natural way of being but not
16:46naturalistic another principle that the
16:50older colleague told me in my first
16:53training season is the one of
16:55introversion and extraversion
16:57every part of the body can be either
16:59extroverted or introverted the head the
17:05shoulders the pelvis the arms the hands
17:16the hands can be extroverted whether
17:20arms are introvert or introverted while
17:24the arms are accelerated the legs
17:27extroverted or introverted the field
17:33usually follow the legs so I can make a
17:38dialogue between the different parts of
17:41my body making some of them introverted
17:44and some of them extroverted head
17:49introverted shoulders introverted arms
17:53extrovert pelvis extrovert one word
17:57extroverted the other introverted
18:17completely accelerated all the change
18:21you wanna tear the hair
19:11now every time I work in the room with
19:15training with performance
19:17I have always with me a little book on
19:19which I write down all the things that I
19:21want to remember and I have this book
19:24with me also tonight because I don't
19:26want to forget to tell you what I
19:29decided today yes about two years after
19:36about two years of work with
19:38introversion extroversion working with
19:42the feet and the head I create a
19:48character a Street character
19:51it was dressed in man clothes with white
19:55shirt black trousers and big red
19:59suspenders it was a part of the street
20:04performance called analysis and I called
20:08him Geronimo
20:14[Music]
20:40[Music]
20:40[Applause]
21:01[Music]
21:19[Music]
21:22Dallas was Geronimo after the first
21:28season in the training comes the second
21:34season as I told you the first season
21:37was in order to liberate the body from
21:42the automatism of the daily life and
21:45find another way of being natural on the
21:48stage without being naturalistic about
21:51three years after one comes into the
21:55group one starts the second season in
21:59the training from now on your training
22:03becomes your individual training and
22:08it's a moment of great freedom but it's
22:11also a moment of great loneliness
22:13because up until this moment an older
22:17actor or engineer barber himself has
22:19been watching the work of the young
22:21actor telling him what to do how to do
22:25it giving advice all the time now the
22:29young actor has to decide for himself
22:31what he has to work on and huh so at
22:37this moment he needs inspiration one can
22:41find inspiration by watching the work of
22:44other theatre groups by watching
22:47performances of other kind of theatre or
22:51by reading books going to movies or
22:57looking into photography and art books
23:01in southern France
23:03I found the inspiration for my first
23:06principle the first principle that I
23:08create in my individual training it was
23:12a book about the play of balls it was a
23:16fantastic book with beautiful picture
23:18and I was really fascinated by the fact
23:21of this old men 70 75 80 years old fly
23:27in the moment they were throwing their
23:29ball to make this kind of throw you have
23:33really to be concentrated and I could
23:37see in the pictures of this old man
23:39preparing herself to the throne they
23:41were really thinking with all their body
23:44looking and through their eyes thinking
23:47with all their body getting exactly the
23:50precise amount of energy that was needed
23:53and then throwing it so when I came back
23:58to hasta bro I tried to create something
24:02that were equivalent that was equivalent
24:05to those pictures I started to throw but
24:11I remember that that that fascinated me
24:14was that those pictures were snapshots
24:17pictures taken in movement so I start
24:21making snapshots of throwing freezing my
24:25movement when the ball left my hand
24:38in order to freeze this moment I have to
24:42keep the balance now if I throw in one
24:46direction I will my body will be taken
24:50in that direction so I have to make a
24:52counter impulse in order to create the
24:55balance because the balance is the
24:57result of two opposite but equal powers
25:01I have to make a contract position with
25:05another part of my body otherwise you
25:10don't have a chance to keep the balance
25:16then I keep my balance on the tip of my
25:19toes
25:34when I started to throw slowly quickly
25:45softly heart small OB
26:14changing direction starting one
26:17direction
26:31when I show you the work on this
26:35different principle I show it to you
26:38maybe two three minutes but when we work
26:42in the room we work on each one of them
26:45for 20 30 minutes and this make us meet
26:52a very faithful worker companion
26:56tireless we become tired and then one
27:01can decide that to be tired means that
27:06my body has got enough and then I have
27:08to stop or I can ask myself what lies
27:15behind what lies behind my first limit
27:25maybe some among you have tried jogging
27:30then after about 10 minutes your body
27:34becomes terribly heavy if you have the
27:39chance to be with a person that has been
27:42jogging for a long time and if it
27:45happens that you like this person you
27:48will keep on running even with your time
27:51and eventually after about five minutes
27:54you will experience that suddenly you
27:58start to become light lighter again
28:02whatever it's not a miracle on a
28:07scientific point of view
28:09your brain has started to produce under
28:13fee and our feelings a chemical
28:17substance very close to morphine or also
28:20to adrenaline this chemical stuff and
28:25earthing is something that our body
28:27produce while it has to face challenges
28:32that are bigger we wanted we take face
28:39extra ordinary situations I don't know
28:43maybe some of you has had the experience
28:46of dancing for hours with other people
28:50really dancing for hours being exhausted
28:55at the end exhausted but not tired and
29:00maybe some of you had the experience of
29:02attending a conference and after about
29:0615 minutes getting terribly tired and
29:09maybe even fall asleep so what becomes
29:13tired first our body
29:17for what concerns me I know that is my
29:21brain that's why when I work in my
29:24training I have to give my brain
29:27something to chew on
29:28I have to tell my brain work with
29:33different direction all the different
29:36work with different speed quick slowly
29:42okay work with different size a movement
29:48can be big or can be small and work with
29:55different kind of energy soft energy
30:00hard energy
30:06what we call for the first few years
30:10physical training is in fact a mental
30:14training people working within sports
30:17know that very well after about six
30:21seven years of work in the training I
30:23could come into the working room and
30:25start to train huh
30:34ten Anna are coming to eat at my place
30:37tonight well I should put some fish they
30:41love fish but I didn't have a white one
30:44then I should buy when I started to
30:50think about what I had to make for
30:51dinner for my friends when I was working
30:54I realized that this kind of training
30:57didn't work anymore for me my body could
31:01do it without my brain being involved it
31:05had become automatic so I had to break
31:10down my ultimate ISM that I myself have
31:15been building inside my work for many
31:18years of junior Ben told me feel the
31:20room fill the space with energies not
31:23always needed with big movements from
31:27that moment I sat down and tried to
31:32irrigate the energy in the room with
31:35small
32:12what I'm doing I'm working with a
32:15principle that I called segmentation it
32:19means I can move only one segment of my
32:22body at a time I decided that the eyes
32:25were also a fragment a segment so I can
32:30move my eyes and then my head my eyes
32:33and then my head or I can move my head
32:37and then my eyes my head and then my
32:42eyes or I can move my eyes and my head
32:44together but have to decide I can start
32:48a movement from the shoulder then the
32:51table and then the fingers what is
33:00important for me is to keep the rest of
33:03my body still
33:10moving only one part of the time
33:20now I move my eyes along with my hair I
33:26can decide to do it but it's different
33:29if I do like this but if I do like this
33:33I can also decide to move two segments
33:47at the time
33:55but I have to decide it is not something
33:57that happened automatically nothing is
34:02automatically in this training
34:20if we think about the principle as a
34:23frame this principle is a very little
34:30frame it has been the narrows the small
34:33I have experience after I been working
34:38for years with all my brother the room
34:40to work only with one joint at the time
34:44it was very difficult and very boring I
34:47really had to use all my fantasy in
34:52changing directions changing speed
34:54changing size changing quality of energy
34:58in order to keep it alive also because I
35:02was very puzzled about what could be a
35:06theatrical close up when one goes to the
35:09movies and once here I feel if the
35:14director wants you to see a hand of the
35:16actor he make a close-up and cut into
35:21the film one hand which is 7 meter per 5
35:24in front of you you can't afford to see
35:28but when you are in the theater you can
35:31see the whole body of the actor and if I
35:34want you to look at my hand I have one
35:36possibility it is to be completely still
35:40with the rest of my body
35:43[Music]
36:11if one forget one part of the body
36:15this part will move even if you don't
36:17decide to move it because it's important
36:22for the actor to be decided and this
36:26makes me think about niels bohr this bar
36:30was a Danish physicist very famous for
36:34his research on quantum theory but less
36:38known for his love for westerns and
36:42there was one thing that was very
36:43puzzling why always in the westerns
36:47there is a duel between the good and the
36:49bad the guy with a white hat on the guy
36:51with black and always the first that
36:54goes to the pistol is the one that dies
36:57how does it come is it not so
37:00what Niels Bohr did he sent his
37:04assistant into town to buy water pistols
37:07he came back to the laboratory and then
37:10he asked two of his assistant to make
37:12duels with water pistols and then Niels
37:17Bohr the famous physicist understood why
37:21the Western were right because the first
37:27that goes to the pistol he decide to go
37:32to the pistol he make a mental action
37:36and then a physical action the second
37:40one is decided the second one is one
37:43with this action there is a difference
37:46between to think in action and realize
37:49it and to be one with this action to be
37:54decided an action by the way is
37:58different from a movement a movement
37:59doesn't change anything
38:02in the space an action always changes
38:05something want to change something this
38:08is an action I move my book this is
38:14I want to move my book I have a precise
38:18intention which in English you can also
38:21say in tension tension inside my body
38:24if this book was a box of beer then my
38:31intention would be different my body was
38:34to pay himself in a different way to
38:37lift it what when I came at the Odeon
38:46theatre the colleague were working with
38:48a big stick it was 1 meter 80 in high
38:51and 4 centimeter in diameter it was in
38:55wood it was quite heavy and I am Geum
39:00asked me to work with this big stick as
39:02well he said you have to find the life
39:05of this object well what is the life of
39:08a piece of wood if not the life the
39:11energy that you inject into him and we
39:14had to make exercises with this piece of
39:17wood that had a start a development and
39:20and precise one rule we had always to
39:25grab either on one edge or the other
39:28edge precisely in the end of the stick
39:31all precisely in the middle so when we
39:34throw the stick and we have to grab it
39:36precisely on the edge this long stick 1
39:40metre 80 had the tendency to go down but
39:43we had to keep it perfectly parallel to
39:45the floor we never have at the Odeon
39:48theatre training for girls and training
39:51from men we always make the same
39:53training during the first three years
39:55during the first season of the training
39:58vendor the training becomes individual
40:00and one can decide himself with the work
40:03after about three years I was allowed to
40:07work with a smaller stick looks easier
40:14because it's lighter but in fact is not
40:17because it doesn't give me
40:18resistance and it's so light but I can
40:22make it fly without using my body so in
40:27the beginning I had to pretend the stick
40:29was as heavy as the Bushman the bigger
40:32stick huh I can name this I can
40:53recognize it from his side I want my
40:55little book I wrote down the name
40:57warrior it's important to understand
41:00that I don't think first an image and
41:05then try to realize it with my body but
41:07by letting my body work with the prop I
41:12recognize images that I can name is what
41:16we can call a thinking in movement is a
41:20different way of thinking when I have
41:24gathered around 12:15 pictures I made a
41:28montage
42:28there is a warrior in a forest here's a
42:34South put there but it's under a lady
42:40walking on the side of the river and in
42:45the middle of the river there is a bald
42:47man in his boat he's out fishing
42:53and when he catch the fish he see people
42:57playing golf on the other side of the
42:59river in the middle boy following with
43:03his eyes the little flying ball sees a
43:07duck and with his arrow get and falls
43:21into the wheel deep deep into the wood
43:34this kind of logic doesn't work in a
43:38linear way works by jumped by
43:43associations and it's a very precious
43:45kind of logic when one works with
43:48improvisation the improvisation that we
43:51do for the performances this kind of
43:55improvisation have always a theme and a
43:59provision has always been have always
44:02been individual I never made theater
44:05before coming at the Odeon theatre
44:06I never made an improvisation before in
44:09my life
44:10I didn't know how to make it but I still
44:12remember the beginning of my first
44:15improvisation and I was short in the
44:21Kingsguard
44:48and so if I had to make the same
44:54improvisation let's say three four years
44:57later maybe I would have done like this
45:38why because in the King's garden it's
45:47forbidden to go it's his own garden I'm
45:52not supposed to be here and when I see a
45:55beautiful flower and I would pick it I
45:58make sure that nobody sees me and I want
46:03this man
46:04many small come the flowers again a
46:37logic that makes me react and not act
46:40all the time well we made improvisation
46:43we had to repeat to learn an
46:46improvisation of about five minutes it
46:48can take up to one week and then we show
46:52it to a Virginian
46:53if one action was to be he will ask us
46:56to make it smaller as you say to absorb
47:00it what action can be like this but then
47:03I can make it smaller or I can make it
47:06even smaller even smaller but is there
47:10in my back I don't lose it I don't do
47:13like this I direct it as I did when I
47:15was big or engine you can say we can use
47:20this improvisation in a scene but I'm
47:23working there is a very even an angry
47:27King sitting there and he wants to
47:31sentenced to death a young and Noble
47:33warrior who have the bad taste
47:36to seduce his daughter so he calls all
47:39the chief of the army and all the chief
47:41of the church into the throne room in
47:44order to sentence to death
47:45this young noble worried and ingenious a
47:49Roberta you are the young noble warrior
47:52entering through so I will do
48:15what I'm being using now is a fragment
48:19of my improvisation in the King's garden
48:22what I do I walk slowly
48:25but now the contest give to my walk a
48:29different logic is because in fact the
48:33person who knows that is about to die
48:35go slowly because once to taste the last
48:38minute is God and one who has to kneel
48:41want to look at the people were going to
48:44sentence him to death and then to the
48:48king if the general has said to me you
48:55are the young noble warrior coming to
48:57the room and kneel in front of a key
49:01like this which is much less real than
49:10the other one when we make
49:13improvisations and one hour
49:14improvisational put into the scene we
49:17always try to keep the images of the
49:20original improvisation with us because
49:22this tension of meaning that is created
49:27by the original images and the new
49:29context in which the improvisation is
49:32put it's what gives a different quality
49:36to our presence I will go back
49:47there are other ways of creating
49:49materials one of them is composition the
49:54word and composition is rhetoric
49:55composition of the body and the voice of
49:59the different characters in 1979 native
50:06performance called breath ashes it was
50:11based on vertebrae live and work I had
50:16to play three different characters -
50:20from better brackets play in one from
50:23his life the truth from his plays were
50:26Paula picture from the three pennies
50:29opera and affects 40 from Peter Crouch
50:33the one from his life was margarita
50:36stating that was better break secretary
50:41to many years when we start working on
50:46the performance
50:47Eugenia wanted me to open high heels and
50:51we started by MJ no asked me to find how
50:56far it reaches whoa
50:59well Paula pitcher is the daughter of
51:03Jeremiah pitcher
51:04she's a very spoiled girl of a wealthy
51:07father we will not speak about how he
51:11make his wealth but she's a girl that
51:14gets what she wants she wants to make it
51:17the messer making the knife and she gets
51:20him Samaritan so she's a very open girl
51:25because she knows what she wants and she
51:28will get it
51:29then I Jenny say okay and how does
51:33affect Patti oh well if equity is a
51:39whole prostitute I've never seen a
51:42prostitute
51:43like this they have to show they have to
51:47have so they're very good only that but
51:51Yvette booty is a very clever girl she
51:54knows what she wants she gets it she
51:57wants to become a grand down and in the
52:00end of the play she married the corner
52:03man
52:04she's the only one in all this play but
52:07gets something out of all that misery
52:09so she's open that I didn't say over
52:14Rebecca you have two characters and then
52:17walk in the same way how can the
52:19prospected or no one you are the one
52:20pony or at the other I say yes what is
52:23your fault you give me two characters
52:24that there are so similar I say well
52:27let's see start to walk like event put
52:33good and now do the opposite what do you
52:37mean by the opposite the first but the
52:40opposite this place this just but don't
52:43forget they trample a that you
52:47know what you want you will get
52:54in this way our point who was born
52:58there are many things that are not
53:00written in the place which was the color
53:03of the eyes of Polly Peachum it's not
53:05written if Paula pigeon had a little
53:08accident at birth with her hip is not
53:11ready either but we decided then maybe
53:14she said that's what she won't let this
53:20Paula pitch an event party had also two
53:24different ways of using the voice I will
53:27now sing the song that event 48 Sun and
53:31a song
53:33[Music]
53:41[Music]
53:53[Music]
54:07[Music]
54:38[Music]
54:43[Music]
54:50was not the Stasi
55:05[Music]
55:17[Music]
55:26[Music]
55:33[Music]
55:46in 1987 my daughter Alice started to go
55:52to school no no for a girl six years old
55:56but this creates me some problems
55:59because I could not travel with the rest
56:03of the group on tour but much as we did
56:07after that point I could take her with
56:10me on tour with a babysitter but from
56:15that point I had to stay in Hollister
56:17broke with her
56:19so Eugenio proposed me to make a solo
56:23performance he thought about the theme
56:27of Judith the woman from the Bible the
56:31woman that is the only one in all the
56:34Bible doesn't give birth doesn't give
56:37life but killed with her own hands so
56:42when we started to work on on the theme
56:46of Judith Eugenia asked me to produce
56:49material that he could work with since
56:551972 at the Odeon theatre we don't
56:58follow a text but the text of the
57:02performance is created at the same time
57:04as the performance the interaction
57:10between the director and the actors
57:13create the performance I started to work
57:17to produce materials and LJ gave me a
57:19book a catalog of an exhibition about
57:22Maria Magdalena and I looked at those
57:26pictures and I found that some of those
57:28pictures were still so strong after me
57:31many centuries and I made photocopies of
57:34them then I put it on the floor in the
57:36world room and I started to learn it was
57:40a series of picture of Maria Magdalena
57:42with oil of Maria Magdalena washing the
57:45feet of Jesus of Maria Magdalena under
57:48the cross of Maria Magdalena ecstasy's
57:51now we're showing you now what happened
57:53to the series of Maria Magdalena under
57:55the cross that was on like this there
57:58was one like this like this like this
58:05like this from a Flemish painter like
58:10this then I try to find a pause that
58:18will help me to link one picture to the
58:21next with a song letting the song lead
58:26me from one to the other and in order
58:29not to put grease on butter as they say
58:32in Denmark I didn't choose
58:35I didn't choose a dramatic self because
58:38the picture was dramatic in itself so I
58:40choose a lullaby a song for children
58:44Nina an assertive and eager Bambino
58:49server 2000 many comments or no
58:59[Music]
59:02turn on some fun Yeti a pioneering on
59:06soulless but this is a lullaby for all
59:27the people who understand Italian not
59:29for the rest so I try to find another
59:32song that could evoke the picture of
59:35baby in other countries as well
59:43[Music]
59:52[Music]
1:00:13[Music]
1:00:19but then when I show it to a Virginia
1:00:21they say good but we can't use it
1:00:23because Jesus belongs to the New
1:00:26Testament and Judith to the old one so
1:00:29we cannot put them together so we
1:00:33decided to create the poem a love
1:00:36because in our version of the story of
1:00:39Judith and on fairness Judith
1:00:42falls in love with oleifera before
1:00:44killing him and since in the performance
1:00:47this point is said to the severed head
1:00:51of all fairness lying on the floor the
1:00:54physical score is slightly changed to
1:01:14tiene el pasad in your passenger I have
1:01:17a cheetah universe we impose severe
1:01:23burden see the text is in Italian
1:01:30because the performance is an Italian
1:01:33because Italian is my mother language is
1:01:37the language that they speak best and
1:01:39since Judith is a tragical character a
1:01:43genial meant that it was no good but I
1:01:48spoke another language because he thinks
1:01:50that my English as well as my Danish
1:01:52sounds like the English and the Danish
1:01:55that the clown's speaks in the service
1:01:57so it was better not to do it and we
1:02:03make the performance in Italian we have
1:02:07a voice training at the Odeon theatre
1:02:09and this voice training is
1:02:13to the training that Ingenio learn at
1:02:16grotto skis theater laboratorium is the
1:02:19work with five different resonators back
1:02:22head top head mask breath chest and
1:02:27abdomen one works with the different
1:02:31resonators using a text attacks that one
1:02:34knows very well that one has not to
1:02:36think about and it's just material vocal
1:02:40material but it has to be a text we
1:02:43don't try to interpret this text without
1:02:45respect the punctuation we just speak as
1:02:48long as we have breath and then we stop
1:02:50and take a new breath the aim is to make
1:02:54vocal actions
1:02:56it means starting from mine from the
1:02:59surface of my body going out in the
1:03:02space as far as I can and then going
1:03:05back to my body being another bag that
1:03:37was since la vita pro/con do a film in
1:03:40the fantasy del destino who is pink
1:03:44another back there is a celibate
1:03:46apocryphally about a vita center say 0
1:03:49to 2 red a link to Dina hey del Varner
1:03:51desiderio navaja can admire all of them
1:03:54moto spaces
1:04:47[Music]
1:05:07[Applause]
1:05:16[Music]
1:05:25some of them with my nose throat and
1:05:46nose and then I can start to improvise
1:05:50pretend it to follow a flying bow with
1:05:55my voice holding it while is moving in
1:05:59the space let's say that it starts in
1:06:03front of me on the floor Volta spacious
1:06:06to yatta-pelican be honest could be tuna
1:06:08Barca con Bella my naughty Rupert a
1:06:10return on a quest
1:06:19[Music]
1:06:20Samantha whether to the web of karma
1:06:22doesn't ricotta gnudi Genesis officials
1:06:25in the event either this Dean of
1:06:27equipping the school Peter moon about
1:06:40the conveyor my inheriting birthday and
1:06:42uh no request that I be this didn't see
1:06:43only following the flying bowl or I can
1:06:48choose to call her my voice imagining
1:06:53natural elements for instance I can sing
1:06:56a song like it was fog like it was eyes
1:07:00like it was running water like it was
1:07:05seem early did
1:07:09[Music]
1:07:10Oh like it was eyes like it was running
1:07:44water we can also make improvisation
1:08:03starting from a theme for instance a
1:08:07theme that is very dear to me
1:08:09is in eastern boons bizarre because you
1:08:12can have anything in eastern boots
1:08:14Posada you can have of course people
1:08:16selling but they can be young old men
1:08:19women you can have people stealing you
1:08:21can have people crying people shouting
1:08:23people singing you can have children
1:08:27dogs cats birds write anything the only
1:08:30limit is your own imagination
1:08:33so now I will make an example of an
1:08:36improvisation in Eastern
1:09:23[Applause]
1:09:38you saw me put the magnetometers a bit
1:09:45ordinary we work with a text for the
1:10:09performances and in the performance
1:10:13Judith I have a first monologue in that
1:10:18is a kind of prologue of the or
1:10:20performance in which I tell the story of
1:10:23children in this case I have different I
1:10:27worked with the text in different ways I
1:10:29have some moments when the physical
1:10:32action and the vocal action and the
1:10:35action that is described in the text
1:10:37follow each others for instance I say in
1:10:43this case is naboo katanas are it's the
1:10:47Assyrian King who says to all family he
1:10:51is the general of his army go and occupy
1:10:56all the territory of the rebels and you
1:11:00should not have any mercy to send them
1:11:04to their death and I say in this way go
1:11:09and occupy all the territory of the
1:11:13rebels and you should not have any mercy
1:11:16to sell them to their death so
1:11:24the total pie is very baby he cannot not
1:11:31be at work you can pursue eldest in
1:11:33Armenia morte in this case they follow
1:11:38each other my voice go the texts go the
1:11:44finger go and occupy I don't say go and
1:11:49occupy I say go and occupy because to
1:11:54occupy is to say here so I throw first
1:11:58my voice and then I say Here I am
1:12:01and then I make with my voice as well as
1:12:03with my arm a circle to delimit eight
1:12:07all the territory of the rebels go and
1:12:11occupy all the territory of the rebels
1:12:14and you should not have any mercy is
1:12:17easy not to have mercy to send them to
1:12:20their death and this is harder because
1:12:23to send a person to death it means to
1:12:26kill this person and at that time to
1:12:28kill was it work that they had to do
1:12:32with their hands another moment when I
1:12:36speak about Judas washing her body with
1:12:39water and I nominated with thick perfume
1:12:42I say ah what in Italian is water and
1:12:48Profumo dancer is thick perfume syllable
1:12:54coconut yellow silken tofu models I say
1:13:01water aqua in this way because I can
1:13:04feel cold water running on my back I can
1:13:08let one word color be colored by the
1:13:11association that it gives me or I say
1:13:14thick perfume I don't say think perfume
1:13:18I say fake perfume my voice is as thick
1:13:22as a perfume fake perfume another moment
1:13:26I speak about the moment when she puts
1:13:29on necklace and bracelets and let me
1:13:31tell you we have a way of saying una
1:13:34result Argentina which means a silver
1:13:37laughter a silver laughs so I when she
1:13:42puts on bracelet I think about the
1:13:44laughter of a young girl seemed easy :
1:13:48his elaborate Chile is here as immortal
1:13:51fashion and and then brought a lady
1:13:54bracelet I color it in this way not all
1:13:58of the words or the text are colored but
1:14:01some words are choosen to be colored to
1:14:04create to break the monotony of the text
1:14:07and to give another dimension to it
1:14:10another moment instead of shouting the
1:14:13most important word I keep it back a
1:14:17moment when she speaks about the elder
1:14:20people of the village Bethulia hurt all
1:14:23that decided to wait five more days and
1:14:27then if God doesn't show his mercy then
1:14:30they will surrender and that mercy
1:14:35misericórdia is the most important word
1:14:38and I say like this the cheeser the
1:14:43resistor and korechi which paul say
1:14:47seniority you know novice the most
1:14:49rattle a sewer the absorber Tullius
1:14:54their neighbors in this case I keep this
1:14:59word and this keeping it makes the
1:15:02spectator to in the action of hearing so
1:15:07until now I have been speaking about
1:15:09technique technique and technique and
1:15:12the technique is important is essential
1:15:15in a part but it's not what the
1:15:19spectator should see as a good friend of
1:15:23mine saying once technique is like a
1:15:27cold black ugly
1:15:31iron staircase is necessary but then it
1:15:36starts to snow I'm a snow cover the
1:15:41staircase and the staircase becomes
1:15:45white beautiful soft and shining in the
1:15:50Sun and the snow is the performing
1:15:55situation where the spectator should not
1:15:58see the technique but the technique is
1:16:01there underneath now in what I will do
1:16:06there is underneath we work with
1:16:09segmentation as I told you before the
1:16:12work with the text everything is fixed
1:16:15because our performances have a physical
1:16:18and a vocal score that is fixed in this
1:16:21fragment that I show you of the
1:16:24performance I will be sometimes the
1:16:27narrator sometimes on a fairness
1:16:29sometimes the book Adela's are sometimes
1:16:31judy sometimes the guard is the text
1:16:35taken directly from the Bible for me is
1:16:38new every time I do it
1:16:41[Music]
1:17:14[Music]
1:17:29[Music]
1:17:37[Music]
1:17:48[Music]
1:18:05[Music]
1:18:20[Music]
1:18:41[Music]
1:18:57[Music]
1:19:03[Music]
1:19:09nadech Mota or John Aventador del primo
1:19:13Mason el palacio de Paco Dora's a radius
1:19:16Serie few discs assume piada Vendetta /
1:19:18paneer a Kannada Strozzi or a cuarón
1:19:22Sierra Leone toka Louie Cointreau our
1:19:24facade ready-made nabuchodonosor mandawa
1:19:31chimera love general super a modem
1:19:35Swissair Tito LED say baa-baa-baa - to
1:19:41pay a daily base he can own our bill -
1:19:44occupational Destin area Morty
1:19:50[Music]
1:20:01poor affair needed ordina to Tolleson
1:20:05Thole attacker is rarity delegated
1:20:08Bethulia ocupado to tha so LaMontagne a
1:20:12seola stadium
1:20:17[Music]
1:20:22Ben Nicosia montréal a baton TD Bethulia
1:20:26all resolved ADA incoming charlie popeck
1:20:30adidas Finiti LED own arrogance even
1:20:34even Oh Maynard Allah said DNC on eBay
1:20:37cheese ready resistor ancora chinku
1:20:41johnny-boy
1:20:42si Senor a do no novice a most righto la
1:20:46sua cordilla virus of it earlier Dear
1:20:55Leader's
1:20:57[Music]
1:21:44by nakano Shan today lassitude Sione
1:21:47Judit philia Demerara vada buddy - la
1:21:51qualities
1:21:52boy you compare own impress octopus era
1:21:56degenerate Ziona engineered Sione
1:21:58I feel the nostril powerful the positive
1:22:04a lava sea level called
1:22:07you know second Profumo days Sparta cap
1:22:12a little cup with imposing theatres go
1:22:15see Miss area pretty the first chin
1:22:19second la palabra a lady
1:22:21Ezra's a malta fashion on tail is
1:22:24guarded equal ooh ooh oh ooh Levesque
1:22:26Avista sushi guanciale bread elated alla
1:22:29chitarra patrulla de seguir Oh Nicole is
1:22:33guarda met Russian they even think he'd
1:22:37rather sort of a la de ella Paris Road
1:22:40Ibiza
1:22:41[Music]
1:22:48the Centinela serial appraiser well in
1:22:51Tarragona Judit respose sur la fille du
1:22:54Brey barafu good at all but permit
1:22:58illicitly okay let's draw a pupil trap
1:23:01aside listen dear al Asiri Miravalle
1:23:04recipe later this additional key petraju
1:23:08spreads are on Papa's CA de toledo lock
1:23:12onto sorority in the european leap at
1:23:32all yeah
1:23:35romanza judical come to trade jewelry
1:23:38rudenko Alberta - no fair nephew
1:23:42preparatory Frisco Saints a metallic
1:23:45guru this one feature precursor a play
1:23:55he's on or a volley para la nostra
1:23:57epithets your special and are received
1:24:00at all City will go to toda la sua coup
1:24:03by Judy Sadako visit if you Pelican
1:24:07onions don't remain - Julio
1:24:09a fairly minimizes the CRTC Daleks was
1:24:13appealing to me sick bay
1:24:16dr. Lajoie Judah disposal
1:24:20seriously bellow weaker G sent to delete
1:24:24our Zilla VTEC me puking on Yahoo Giorno
1:24:27Kazuto
1:24:41[Music]
1:24:58while the sufficient we establish a
1:25:00fraternity das promisingly today
1:25:05[Music]
1:25:07[Applause]
1:25:08[Music]
1:25:26[Music]
1:25:38[Music]
1:25:41dude insufficient article on the delayed
1:25:44dualistic or Espada I fill up in like yo
1:25:48man I tasted you love man
1:25:51- teleports I think we're a capatch
1:25:55local PD a volatile call boots and Ola
1:25:58taste
1:25:58[Music]
1:26:08[Music]
1:26:50[Music]
1:27:26until now I've made theater archaeology
1:27:32digging in the past and now would like
1:27:35to tell you something about my present
1:27:37and my future the first thing is a work
1:27:42with a voice as I started already four
1:27:46years ago but that for me is still in
1:27:48the beginning is a work that is inspired
1:27:51by a cassette of songs of Shepard from
1:27:58Georgia Georgia X Soviet Union I hear
1:28:03these songs and I was fascinated by the
1:28:05sound of their voices they use what they
1:28:08call crystal voices and it's not because
1:28:11they use very high voices or this scene
1:28:13in falsetto but it's because they
1:28:16managed to make overtones harmonics that
1:28:20are so strong like the one that you can
1:28:22get when you have a glass a crystal
1:28:25glass and with a wet tip of your finger
1:28:28you start making circles so I didn't
1:28:33have any master and it's your job master
1:28:36so I had to experience myself this
1:28:41journey through their monix I will show
1:28:45you my harmonics till they are very
1:28:48smooth I know that I have a lot of work
1:28:50in front of me but I would like to share
1:28:53them with you
1:29:00[Music]
1:29:25[Applause]
1:29:26[Music]
1:29:27[Applause]
1:29:29yeah
1:29:31[Applause]
1:29:40[Music]
1:29:43[Applause]
1:29:45[Music]
1:30:06[Music]
1:30:14[Music]
1:30:17you
1:30:19Oh
1:30:22[Music]
1:30:36Oh
1:30:42[Music]
1:31:00[Music]
1:31:06[Laughter]
1:31:10[Music]
1:31:15[Laughter]
1:31:20II
1:31:28[Music]
1:31:43[Music]
1:31:50and that something that belongs to the
1:31:54third season of the training of the
1:31:56actor and the third season is when the
1:32:00actor still increases his circle of
1:32:03power make bigger his presence and then
1:32:06on another hand start already to have a
1:32:10kind of dramaturgical idea in his work
1:32:16start in his training to produce
1:32:19material that he can present to the
1:32:23director now I will make for you the
1:32:26first dance that I made tonight with
1:32:41[Music]
1:33:12[Music]
1:33:46[Music]
1:34:04[Music]
1:34:11[Music]
1:34:23[Music]
1:34:29[Music]
1:35:05[Music]
1:35:13[Music]
1:35:20[Applause]
1:35:21[Music]
1:35:27[Music]
1:35:32[Music]
1:35:39[Music]
1:35:59[Music]
1:36:13[Music]
1:36:24[Music]
1:36:30[Music]
1:36:42[Music]
1:36:49[Music]
1:37:05[Music]
1:37:11[Music]
1:37:25[Music]
1:37:38few words that are not mine the art of
1:37:44the actor is based on the organization
1:37:46of his material and on the actors
1:37:48accurate knowledge of the means of
1:37:50expression of his own body this was
1:37:54written by Mayor hood a Russian theater
1:37:57director from the beginning of this
1:37:59century and is still valid for me thank
1:38:03you for your patience
1:38:12[Applause]
1:38:27[Applause]
1:38:31[Music]
1:38:35[Applause]
1:38:37[Music]
1:38:37[Applause]
1:38:46[Music]
1:38:49[Applause]
1:38:51[Music]
1:38:51[Applause]

About this transcript

This page contains the full transcript of Huellas en la nieve (Sub. Español) by Principe del Kerosene, generated from the public captions YouTube serves with the video. The transcript has 6,841 words across 1,073 segments, with the original timestamps preserved so you can click any line to jump to that moment in the embedded player.

What you can do with it

Use the transcript to take notes, quote the speaker, build a study guide, generate a summary with ChatGPT or Claude via the YouTube Summary tool, or export it as a timed subtitle file with YouTube to SRT. You can also re-open it in the transcriber to translate the transcript into 100+ languages.

Free YouTube transcript tool

YouTube2Text is a free YouTube transcript generator — no signup, no daily limit. Paste any YouTube link and get the full transcript instantly, with timestamps, click-to-jump, translation to 100+ languages, AI prompts for ChatGPT, Claude, and Gemini, and exports to TXT, SRT, VTT, or Markdown.