BRIEF REFLECTIONS ON THE DIFFICULTY OF INTERPRETING
The value of pedagogy. Pedagogy must be "motivation". From the first to the last minute. Motivation to get tested in physical and emotional work. Motivation to explore the limits of one's own creativity. Motivation to deepen intellectually in the contents of the universes that are visited. Motivation to understand the world. Motivation to understand who we are. A learning process requires exigency and patience; persistence and decision; growth and maturation.
A teacher does not "teach" anything, only proposes dynamics and shares an experience and professional knowledge acquired and -with course- always in process. But above all, it is important for the student to understand that "learning" is not in itself a passive act, but requires a high level of initiative, self-sufficiency and concentration; an attitude of total openness, availability and absolute delivery.
The originality of "the truth". The interpreter always looks for "the truth". Around a table, if we talk about it, almost all of us will agree that we pursue the same kind of truth in the interpretation. Then, on the ground (on stage or in the classroom) this "truth" takes many other nuances. Many aesthetic possibilities are opened. And we often discover that fortunately (or unfortunately), not all of us were looking for the same.
This utopian truth is based (in one of its multiple visions) when expressing and triggering processes that convey a "real energy." To touch even with the tip of the fingers this "truth" is better "to be real" than to be a pale reflection of what we understand as "everyday life." This is one of the small great contradictions of the vision that often one has the day that decides to begin in the formation of being an actor or actress: to be real (and therefore "convince") does not necessarily mean that it resembles the reality that surrounds us. But often he wants to say the opposite: "interpret it." Give her a vision. Make an "interpretation".
Through the profound understanding of reality the actor takes the personal decision of how to express it. As Picasso, Beckett, Shakespeare and Sophocles have done (all a stone's throw from our history) as well as many other geniuses, who have found a space among those few brave people we call originals. Based on this understanding of the scenic event and its possibilities, the final decision on how to express reality is personal and non-transferable. It is what each one can contribute. It is what you can bring to the theater world, while the theater world gives you the rest of the things to you.
The paradox of being an actor. The office of actor or actress is one of the most complex trades, due to the inevitable intrinsic impossibility that the individual has to objectify the result of his work. An actor or an actress acts, and when they finish what they have done, "that" has already happened. In the best of cases, "that" will have left a specific record in those who observe it, but in him there will only be a sense of humor, a personal feeling in one's self and in the eyes of others.
The actor's office contains, in fact, a metaphysical paradox: he is the artist and the result of his art, he is the musician and at the same time the instrument, he is the cause and the effect of everything that "does" and that "is" in the act of convincing and of communicating with others. And it is this isolation, this impossibility of observing its own office from outside -that is on the stage-, in which precisely this great difficulty lies.
Josep Galindo (Eolia, 2012)