With the advancement of post-quarantine transitions, Malucha Pinto is working whenever she can. “I leave my house type 10 by seven and record non-stop,” he says.
Her work in the television series “La Torre de Mabel” is not her only project, as the Chilean actress and playwright will release “Victoria”, a montage written and directed by her in confinement.
“Victoria” will be presented as a “hybrid”, due to its theatrical format mixed with docu-fiction. The assembly will be released on Sunday at 9 p.m. via eventrid’s page.
Have you been too busy with the return to the recordings?
Look, now I’m recording on horseback the TV series that were suspended and I swear, I leave my house type ten by seven and record, record, record. It’s like madness.
How is “Victoria” born?
This work emerges in the absolute vulnerability in which the pandemic has left us. It’s been a very strong and painful thing for us. One has questioned so many things, from what the theater is, what the essence is, whether or not we can give our shows through these virtual supports… So we think, “Well, we want to do something, be present, we don’t want to give up our craft.”
“Victory” took place during the pandemic, how was this whole process?
All the rehearsals we did for Zoom. It was very strange, because we’re used to touching each other. There were a lot of familiar ways that could no longer be and we were there, sitting in front of a screen. Sometimes it was a rage because we couldn’t all talk at the same time because everything is mounted, just as we couldn’t join in music. But we did it. We rehearsed for two months via Zoom, where we talked every day. Then what we did was turn one of our houses into a studio.
Did they record in a house?
Exactly. We couldn’t get out, the permits lasted three hours… it was all in the middle of quarantine.
They got along with what was there.
Of course. So we completely obscured a space that was the living room, turned it into a black box and that’s where we filmed. We had limited time: at 10 at night there was curfew, so we left earlier.
And now, how do you see the revival of the theater?
I think there’s been such a strong passion in the teatrists to keep doing what we love. If something exists in our guild, it is a deep love for what we do and the absolute condition that theatre is indispensable and necessary for the development of a country. We will continue to look for ways to do this: by Zoom, recovering works that we recorded previously, coming together and streaming online, looking for ways to continue doing theater on these new media. I don’t know if the theater has been revived, but we’re trying.
