Ana María Bovo: “They battle so that our production is more precarious, meager and in the process of extinction”

Ana María Bovo: “They battle so that our production is more precarious, meager and in the process of extinction”

“The selection of films is always mean to my desire to want to tell them all. It is still mysterious why I choose one and leave others outside ”, says Ana María Bovo, narrator, screenwriter and actress who presents “Movie loves” In Berlin Café.

Bovo He will share with the public love scenes of international and local cinema, with romantic, clumsy, funny, nostalgic and crazy scenes, diverse from each other, such as “The wings of desire”, “Nothing Hill”, “Congratulations” either “The bride’s son.” On February 12 at 20 in Berlin Café, Av. San Martín 6656. We talked with Bovo

Journalist: How did you choose love scenes? How are they and what did you propose that they had?

Ana María Bovo: I turn to my memory, to the scenes that are presented spontaneously again and again, because they made me cry or laugh or swallow saliva. I need a physical memory and then reproduce it when I count it, if possible, of course.

Q.: What scenes or movies couldn’t miss?

AMB: The selection is always mean to my desire to count them all. It is still mysterious for me why some movies or scenes yes and not others not. I think they are the ones that insist the most to return to my eyes, to my senses and my heart.

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Q.: How did you adapt those scenes to the monologue?

AMB: The adaptation is arduous, I have to adapt a narrative system very similar to that of the cinema, which condenses the events, generates images, which each can then design to their measure. It is a story that has to have a double condition, mean a revision and resignification for those who saw that film and autonomy for those who did not see it. For example, “Madison’s bridges” took a year of work for a nine -minute story.

Q.: There is unipersonal boom, you were a pioneer in the narrative, how did he mutate throughout all these years?

AMB: My unipersonal were changing, at the beginning they were an anthology of literary texts by very recognized authors, whether they were local or international. Little by little I dared to introduce my own texts, as in “peanut with chocolate”, where I only told movies. That was a turning point in my career and allowed me to conquer a broader audience, that of the mass culture of sharing film in a room.

Q.: How is the public that follows you years ago? Are new spectators add up? Is the public renewed?

AMB: I have the privilege that they are very faithful and always see me again and ask me for stories that they heard years ago. In the generational a granddaughter brings her grandmother or vice versa, to know me. Fortunately what I tell unites them.

Q.: How do you see theater and culture today?

AMB: Officially they battle so that our production is more precarious, meager, in the process of extinction, but fortunately those that we manage and enjoy the culture do not lower our arms, we will have many shows this year with all the richness of the Argentine talent to the leather flower. That gives me hope.

Source: Ambito

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