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I think most of my works talk about exactly that:

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About how history and the past is
inseparable from our actions

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in the present time,

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which is at the same time why we really need to look at it.

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We need to be able to look at it, to transform it.

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So, my relationship with the past is a relationship of desire

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for transformation and, at the same time, of knowing, of valuing

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the importance, of looking at the past,
to be able to build another future.

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And also it's like an obsession

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to ask again and again how it's possible

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to change the past, not the past

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in the way that I never can change
the past because the past is there,

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but how I can change the present moment to reinvent

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the possibility of the future.

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But it's always through the past.

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I work a lot from documentary,

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documentary in all aspects of the documentary

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how documentary film is recorded

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as material that what I bring from

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the people who are working with me or what I perceive.

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Looking outside, looking at the world

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this documentary material is always
transformed into fictional material.

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Because what interests me in capturing this material,

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in bringing this material into the work.

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In fact, it’s able to build another story
that will overlap this fictional material.

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A story that, in fact, will walk in a very tenuous line
between the fictional creation and the material

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that started from reality.

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Also a material that interests me but has less part in my research

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is the relationship with theater and cinema.

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And it is in this relationship with theater, cinema

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that it’s not only because of what
cinema can do in terms of film projection

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but mainly in the way that the point of view that the camera provokes within the scene is that the cinematographic device itself

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can transform the spectator's point of view.

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The theater is a place that you can look for

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whatever you want and when I put the camera

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is not only because I show the image but also
because I can I can create the imagination.

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This is a new layer for the spectator that is how I'm thinking.

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That is the focus of the scene.

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I really think about this idea of the performance

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that is, the performance is also

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how life is to change the fiction

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and the fiction still changes the life for the people

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that are part of the creation.

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The challenge to create political theater

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is that it's really important
to be very connected with the present

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and if the present, what's happened

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in the world but also what is present

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in the life of each person that it's part of the work.

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That's why it's a bit tired for some moment for me but

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in each work that is continued to present

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we are really inside of this, it's not something that we only show.

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This relationship between fiction and reality.

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It really presents the possibility

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of other forms of dramaturgy creation.

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Within my work there are moments
that I really started from a reality

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to create a fiction and other
times that I started from a fiction

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projecting reality into this fiction.

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We bring

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macro social political issues into

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the scene, into

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the research, into the creation

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of a work. It is completely inseparable from what

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the bodies and the memory of these actors
and these artists bring to the scene.

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And we really have these

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these really

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strong relationship with the people
because it's not that you bring these people

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and put in the room for to rehearse.

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So it's really what you are going to do then.

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You are you are with them.

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We we are for, I don't know, three, four weeks,

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with each country that we travel to to do this work

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it has transformed their lives, but also transforms our lives.

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For me as an artist, and more as a person

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it has changed my life also.

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And it's really important to say that

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when I talk about the documentary

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it’s not only to talk about the documentary
because I want you to pick up the material.

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It's really how these possibilities are going into the life

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in direction of the people. It’s transforming their lives.

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It's also how this project

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transformed the life, the life transformed the project

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and it's never finished.

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I actually write the whole structure, the
whole basis of the work before starting.

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So, if at first the leap is in
the dialogue, soon afterwards

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the leap is in the text, in the structure,
because this structure

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is what will make possible the opening
of the spaces between them.

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Between these lines of structure, so that
we can create something that we do not

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know what it is.

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I spend very little time sitting at a table.

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We are almost always in the rehearsal room,

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creating this material, raising this material from the scene.

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I think that when I'm thinking about me as an artist

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and I think that I'm a writer

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but the space that I write

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is not a paper but it's the invisible space in the theatre.

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I'm not only a director, I'm an artist

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that writes with a lot of hands in this space.

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The first thing for me, it's

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is to the actors

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or the artists that are part of it, we need to have this space

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the way that it’s something that is really to
open the space for me to listen then.

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And not only to say that I want that

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they speak, but it's really to say

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it's your space, so use it and I'm here for to

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to receive also and to educate me

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also because as a white person it's really important to do this.

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I find that it's about to open this space

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and for to open the space we have to

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leave the space like this.

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So, I think that the place of a director
is fundamentally a place of creating

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relationships of respect between people,
and not of stress between people.

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So, for me, when I think about my work
I can never think about one part.

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I always think that it, in fact, is
again the idea of the writer.

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He is a writer of a whole.

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So that's why, in fact, both to keep
revisiting the same work and transforming it

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and to develop works that build on
each other. For me it is what even gives

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the sense of deepening about whatever
I am researching that makes sense.

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To close this question,
often the same work for me can

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also be cited from other points of
view, such as, for example,

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speaking now of the aspect of cinema,
the film that is the lack that moves us.

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First it was a play.

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Then we transformed it into a film that worked
with the research device of the play.

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But thinking from the perspective of cinema.

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Afterwards this film became an installation,

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in which we show, in 13 continuous hours, the three screens

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with the three cameras that produced it.

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The work itself also unfolded

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into many different looks at

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this work, just to say that

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sometimes it is not only a question
of how I am going to develop

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a trilogy, a diptych, but also how I am going to dive into

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a material and continue to unfold and rethink this material.

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For me my work is so mixed

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with my life, it’s not so inseparable that it is almost

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as if reality and fiction also overlapped all the time.

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How would I like that faith?

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Without thinking that this perception, that this

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desire that I have, that my

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theatre can somehow be transformative, that this was

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not a utopia that if it really, somehow, can be real.

