April 8, 2024 • 16 mins
En este nuevo episodio de PodcastUR, Nelson Duarte conversa con la “Casa Teatro Nacional” de su nueva obra teatral dirigida por Daniel Chaparro, que desafía las convenciones sociales, se sumerge en las profundidades de la búsqueda del éxito. Con un elenco de talentosos actores egresados de la Escuela de Arte Dramático del Teatro Nacional, 'Talento Humano' ofrece una mirada cruda y honesta a las realidades laborales contemporáneas.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Netizens of Rosario Radio. Welcome tothese informative podcasts through the signal of the
digital station of the University of Rosarioor Rosario Radio. I am Nelson Duarte
and on this occasion we have asguest Daniel Medina, who is the director
and writer of the human talent work, which premiered last April 4 at the
(00:21):
house of the National Theatre. DanielMedina is an actor, director, playwright,
screenwriter and teacher of the National LiteratureAward in the twenty- three thousand
for his Bogotá anthology in Tinta Roja. He is currently the writer and actor
of the play by the same scissorsat the National Theatre. It has merged
(00:41):
different disciplines in the artistic work forthe creation of a platform with uninterrupted activity.
That graduate of the School of DramaticArt of the National Theatre in the
two thousand and twenty published the bookof tales, whores, monsters and other
harmless beings and in the two thousandand twenty the poetic one word of yours
(01:04):
will suffice to kill me has writtenmore than twenty works, among them Vallet
Peregrino was an initiative generating a DitritalPortfolio of stimuli for culture, being also
the first self- teaching work inColombia. Her work before she arrived was
published in the last volume of anthologyof the Teatro Breve, Colombia. His
(01:25):
work for the same scissors participated inthe first dramaturgy tournament of the Teatro Colón
in Bogotá. Daniel Welcome to RosarioRadio' s microphones. A lot.
Thank you so much for this space, for inviting human talent. It'
s a new opportunity to talk thesedays. Of that, what does that
(01:49):
mean that we consider ourselves as asuccess as students, as workers, as
in some way, success is alwayssomething that program us, because from children,
in some way, they force usto occupy that place. And then,
when we grow up, we realizethat it' s ourselves that we
(02:10):
' re looking for that place,comparing ourselves, exploding ourselves, demanding ourselves,
and we never really know what thatplace really is and when we have
it, we don' t seeit, because we always want another place,
we always want to be somewhere else. We never settle for our place
and let' s say this devicethat takes a little advantage, that it
(02:32):
' s theater and that there arespectators, and then we start treating viewers
as spectators, but as customers.Somehow we convert that formula which, in
short, of the theatre is alsoand is a service and I also associate
it with a customer service, because, somehow, a good work has to
(02:53):
be a good service, as wellas a bad work is a bad service.
And I go out talking bad aboutservice. And I didn' t
like this. No, this,this I didn' t understand, or
this didn' t identify me,or this seemed boring to me. So,
when you talk about any kind ofservice that doesn' t happen,
no, then we don' ttake a little advantage of this formula to
(03:17):
propose this device. Well, Daniel, what really inspired him to do this
work, because, then, whatis lived in an office, in a
factory, in the place where,since we are providing a service, there
are countless things going on, bothfor the bosses and for the employees who
(03:40):
led him to perform this work thatis presenting him to all the netizens of
Rosario Radio Talento hand. Well,part of it was the concern that the
actors had at the time with whichthey started this process. This process begins
as an academic and until now itbecomes a professional work. But when I
was within the academic range, someof the concerns that the actors had and
(04:05):
I too, because I have hadit is precisely what I am going to
do now, what I graduate,yes, like what I am going to
do now that I finish my process, which I am going to do now
that I start my working life.That' s a state of danger in
some way, and it' salso a state of great knowledge, because
(04:27):
somehow you understand that if you're going to dedicate yourself to this,
and apply it not only for theater, but for any kind of career.
If you want to dedicate yourself tothis, because they involve sacrifices in time
and space, then yes, aswith this restlessness, I begin to write
scenes for the actors and just afterthat we do as an assembly of all
(04:51):
the materials that we already had.From what I' m hearing. The
work is focused precisely on those peoplewho are starting out looking for their first
job, or actually already for peoplewho have a work experience and who sometimes
do not feel satisfied in that site, but by obligation they have to be
working there. I think that foreveryone, for everyone, to say that
(05:14):
the work is supported under various materialsthat allow one to somehow feel identified if
it is starting well or even ifone is thinking about changing jobs or careers
or even if it takes a longtime in the same career or in the
same job and wants to try otherthings. As I' m telling you,
(05:34):
it' s spatial disconformity, whichis like I call it. I
think it' s a state.It is something that you feel at any
age and can feel anywhere. Soit' s not as focused on a
certain specific part of people, butjust as it covered it. All good.
(05:55):
Daniel, you' re very young. How old you are twenty-
five years old, twenty- fiveyears old and since you are a director,
playwright, screenwriter, teacher, youalready have a national literature award in
the twenty- three thousand for yourBogotá analogy in red ink. He is
(06:15):
currently the writer and actor of theplay by the same scissors. This work
is also performed at the National Theatre. True yes, sir just the time
that what human talent, precisely ofthat personal exploitation is also something that I
am living. But so too,that is, you feel identified with this
(06:35):
work. They' re blowing itup. Of course, of course,
nonconformity and saturation is something that accompaniesus. I mean, you can'
t deny that something you' retalking about still doesn' t upset or
alter it. But it also doesnot change for the better. Well,
sometimes that sacrifice is worth it whenit' s paid in the checkbook.
Let' s not expect it tobe no to you, but I congratulate
(07:01):
Daniel, because he' s aperson for twenty- five years and already
with this journey and what he's doing, because it' s something
that really motivates those people to havethat approach. Not if he can.
I too can and will achieve itno matter what circumstances I am living around
you. Yes, sir, yes, sir, I think the most important
(07:23):
thing is the sacrifice of time,because somehow, the economic sacrifice I feel
comes after, but the sacrifice oftime is somehow to arrange that most of
the time I need for my creationor for my invention or for this undertaking,
for whatever I want to spend,I need a lot of time on
(07:46):
my side. I can' tsay I' m flexible against other things
I have to do somehow. Ineed to set you up for a long
time. Without this is what Iwant to go into and talk about that
flexivity that you just told us,what that interaction with the people you are
(08:07):
directing is like. According to thestatement of thinking that I have here,
they are actors who are graduating fromthe drama school of the national theater,
but I don' t know,when you face actors who have already had
a tour, what that interaction islike. They respect him, they value
him no matter how old you are, because right now there is an actor
(08:28):
who is replacing one of the guyswho had just graduated and is a graduate,
because he already has a lot morecourt and who is also a graduate
of the theater house and let's say it' s another generation.
It is not other generations of thegenerations that were graduating when I entered,
not in any way, these kindsof people who have moved around in circles,
(08:48):
in a lot of training, ina lot of theater, in a
lot of cinema. And just havingit, because it makes me what you
say is like comparing it like thatdeal. But I don' t feel
like they have nothing to do withhow long you' ve been a graduate
when you' ve been working onthis to realize that this work is always
(09:09):
based on respect and listening. Daniel, when I have ever heard that there
are actors who like to be onthe tables that come up television, how
do you see that some actors thinkthat I do not want to be an
actor of novels of what television presentsor go to be a casting, but
(09:31):
I prefer to be on the tablesin what is really the essence of the
theater, because I feel that theyare different fascinations. Somehow, I feel
that when it comes to making moviesor making television, you don' t
feel so much pleasure when it comesto doing because somehow everything goes a little
faster and a little more controlled andsomehow, the energy isn' t focused
(09:52):
on that there are spectators about youinstead, when you' re in season
and besides you have this possibility thatyou repeat and repeat all the time,
because there' s function tomorrow andit happens tomorrow and the other week,
like this interaction that there are alwayspeople who come to just pay attention to
what I' m doing or howI' m moving, because I feel
(10:15):
that it allows me to enjoy alittle bit and realize that self- discovery
that I have when it comes toworking there. So if I feel the
pleasure of being on boards, thepleasure of being performing in theater, because
it is a little bigger or dilatedfrom the pleasure of cinema and television.
(10:35):
For me the pleasure of TV cinemais when you finish editing and either you
release that movie or it comes outon TV and you can see it as
the end result. That' swhen that kind of pleasure begins for me,
because I feel that before it's like so much information, now
it' s accurate and ta tata ta ta ta ta ta ta,
ta ta that somehow you don't feel so much enjoying it, but
(10:58):
in the end you see the resultsand you say no yes, you get
to do this that says you dothis. Well, Daniel. The play
premiered yesterday, April 4. Notas you see, the reception of the
people really impacted remember that the bossavoice is the main thing for the theater
to be constantly full. Then,as in that first act that were made,
(11:18):
what expectations he felt as director,as writer of this work, because
last week we had done some functionsas preview. And just yesterday, because
it was the stress, it wasa little more visible to the rest of
the world than was somehow existing.I had a little bit of this prevention
(11:39):
or this fear that we' llsay older people or that people who don
' t work just in some officeor don' t live out of the
theater, like they' ll somehowshow up a little extraneous to the play.
But it' s not really veryyes, it' s very important
for all kinds of audiences, forolder adults as well, and I think
(12:03):
it' s partly about a collectivevoid, which is that we all,
somehow wanted to be something different fromwhat we are now. And it'
s not like we don' tlike what we do now. It'
s not that we don' tlike to do what we' re doing
now. It is that, deepdown, we wanted or would have liked
to be somewhere else, in anotherjob, in another career, in another
(12:26):
country. That is, if thereis a spatial inconsistency, frustrated or ignited
or notorious or notorious. Then,as we all share this factor, the
impact was, well, super,because it was a win for all.
Actually, if people like to laughat that rhythm in ton, the play
is funny too and I feel thatthat is important. So, if we
(12:48):
already overcome that gap, we realizedthat the work does impact, that it
works, that it has fun,that it entertains, that it is a
good service. The important thing isthat you, as a spectator, feel
identified with what you are transmitting truth, because you just said so at that
moment. Sometimes you' re ina place, but you don' t
(13:11):
feel satisfied because this isn' twhat I wanted. This is what I
didn' t dream about being here, but it' s what I'
m up to and that' swhat it is. Yeah,' cause
the chances suddenly I let them pass. I don' t know how to
show up again, either out oflaziness or neglect. Well, under any
circumstances, sometimes you' re notin the place where you want to be,
(13:31):
and that' s the good thing. Let one see something and immediately
one says, well, mother,that' s what' s happening to
me. That is what I am, what I am living, what these
manners are transmitting to me through thiswork is what I am living. And
I have to laugh at what Iam living and these make me laugh at
what I lost or formulate myself tomorrowor the day after tomorrow. So,
(13:52):
to make a change of decision forthat, because I feel that when the
theater becomes u r a r thetheater, for me it does not have
to give you concrete indications of whatyou should do. For me, he
mustn' t tell you to changejobs or change carnals. No, because,
then, it' s just whenyou' re complaining every day about
being told what you should do.No. But the theater is profitable just
(14:16):
when it presents you with a lotof images, I hope you contradict it
so that you have as what tochoose from. Have to cut that you
choose it and from your own meansand from your own interpretations, make decisions
for your life. That, that' s like the taste that theater somehow
helps you formulate what you could suddenlydo. That' s, that'
(14:39):
s blessed for me. Well,Daniel, then let' s tell our
netizens. The play premiered yesterday,April 4. What a day he'
s gonna be on the air.Let' s say so the performances in
the theater, in the house ofthe National Theatre, where you can buy
the tickets so you can go tosee this play how you are. It
(15:00):
is a work that can be goneas a family or only for adults.
It is a play that you cansee in a patch of friends or in
a familiar patch without a problem,or you can go alone, as there
are people who go to theater aloneand in some way it is a different
experience. We' re going tobe here this week, today and tomorrow
at eight o' clock at nightand the rest of the weeks We'
(15:22):
re going to be here from Thursdayto Saturday until 27 April, also at
eight o' clock at night.There, in the theater house, tickets
can be obtained in any of thethree venues of the National Theatre, in
Castellana, on seventy- one streetor there is in the theater house,
and they can also be bought andbooked on the National Theatre page, which
is National Theatre. Punto com then, Daniel, thank you very much for
(15:43):
going through the microphones of Rosario Radioin these informative podcasts. I don'
t know if I have any socialnetworks where our netizens can know a little
more about their trajectory and also,well, be aware of what comes next.
My social media is Daniel l ll M. Daniel l MM That
' s my instagram and also,well, that of the platform group that
(16:10):
I call more platform than the domesticspectrum group on Facebook and Instagram. Daniel,
thank you for introducing us to thisnow cut your hand, for taking
the viewer to really identify if whatshe' s doing is really worth it,
if she likes the job or ifshe likes the environment, where she
is or if she doesn' tthink about finding another alternative so she feels
(16:33):
much better. Yes, yes,yes, you regret how many times you
want and Lord thank you, thankyou for this very rich space, as
rich reported for the informative podcasts ofRosario Radio Nelson Duarte
Netizens of Rosario Radio. Welcome tothese informative podcasts through the signal of the
digital station of the University of Rosarioor Rosario Radio. I am Nelson Duarte
and on this occasion we have asguest Daniel Medina, who is the director
and writer of the human talent work, which premiered last April 4 at the
(00:21):
house of the National Theatre. DanielMedina is an actor, director, playwright,
screenwriter and teacher of the National LiteratureAward in the twenty- three thousand
for his Bogotá anthology in Tinta Roja. He is currently the writer and actor
of the play by the same scissorsat the National Theatre. It has merged
(00:41):
different disciplines in the artistic work forthe creation of a platform with uninterrupted activity.
That graduate of the School of DramaticArt of the National Theatre in the
two thousand and twenty published the bookof tales, whores, monsters and other
harmless beings and in the two thousandand twenty the poetic one word of yours
(01:04):
will suffice to kill me has writtenmore than twenty works, among them Vallet
Peregrino was an initiative generating a DitritalPortfolio of stimuli for culture, being also
the first self- teaching work inColombia. Her work before she arrived was
published in the last volume of anthologyof the Teatro Breve, Colombia. His
(01:25):
work for the same scissors participated inthe first dramaturgy tournament of the Teatro Colón
in Bogotá. Daniel Welcome to RosarioRadio' s microphones. A lot.
Thank you so much for this space, for inviting human talent. It'
s a new opportunity to talk thesedays. Of that, what does that
(01:49):
mean that we consider ourselves as asuccess as students, as workers, as
in some way, success is alwayssomething that program us, because from children,
in some way, they force usto occupy that place. And then,
when we grow up, we realizethat it' s ourselves that we
(02:10):
' re looking for that place,comparing ourselves, exploding ourselves, demanding ourselves,
and we never really know what thatplace really is and when we have
it, we don' t seeit, because we always want another place,
we always want to be somewhere else. We never settle for our place
and let' s say this devicethat takes a little advantage, that it
(02:32):
' s theater and that there arespectators, and then we start treating viewers
as spectators, but as customers.Somehow we convert that formula which, in
short, of the theatre is alsoand is a service and I also associate
it with a customer service, because, somehow, a good work has to
(02:53):
be a good service, as wellas a bad work is a bad service.
And I go out talking bad aboutservice. And I didn' t
like this. No, this,this I didn' t understand, or
this didn' t identify me,or this seemed boring to me. So,
when you talk about any kind ofservice that doesn' t happen,
no, then we don' ttake a little advantage of this formula to
(03:17):
propose this device. Well, Daniel, what really inspired him to do this
work, because, then, whatis lived in an office, in a
factory, in the place where,since we are providing a service, there
are countless things going on, bothfor the bosses and for the employees who
(03:40):
led him to perform this work thatis presenting him to all the netizens of
Rosario Radio Talento hand. Well,part of it was the concern that the
actors had at the time with whichthey started this process. This process begins
as an academic and until now itbecomes a professional work. But when I
was within the academic range, someof the concerns that the actors had and
(04:05):
I too, because I have hadit is precisely what I am going to
do now, what I graduate,yes, like what I am going to
do now that I finish my process, which I am going to do now
that I start my working life.That' s a state of danger in
some way, and it' salso a state of great knowledge, because
(04:27):
somehow you understand that if you're going to dedicate yourself to this,
and apply it not only for theater, but for any kind of career.
If you want to dedicate yourself tothis, because they involve sacrifices in time
and space, then yes, aswith this restlessness, I begin to write
scenes for the actors and just afterthat we do as an assembly of all
(04:51):
the materials that we already had.From what I' m hearing. The
work is focused precisely on those peoplewho are starting out looking for their first
job, or actually already for peoplewho have a work experience and who sometimes
do not feel satisfied in that site, but by obligation they have to be
working there. I think that foreveryone, for everyone, to say that
(05:14):
the work is supported under various materialsthat allow one to somehow feel identified if
it is starting well or even ifone is thinking about changing jobs or careers
or even if it takes a longtime in the same career or in the
same job and wants to try otherthings. As I' m telling you,
(05:34):
it' s spatial disconformity, whichis like I call it. I
think it' s a state.It is something that you feel at any
age and can feel anywhere. Soit' s not as focused on a
certain specific part of people, butjust as it covered it. All good.
(05:55):
Daniel, you' re very young. How old you are twenty-
five years old, twenty- fiveyears old and since you are a director,
playwright, screenwriter, teacher, youalready have a national literature award in
the twenty- three thousand for yourBogotá analogy in red ink. He is
(06:15):
currently the writer and actor of theplay by the same scissors. This work
is also performed at the National Theatre. True yes, sir just the time
that what human talent, precisely ofthat personal exploitation is also something that I
am living. But so too,that is, you feel identified with this
(06:35):
work. They' re blowing itup. Of course, of course,
nonconformity and saturation is something that accompaniesus. I mean, you can'
t deny that something you' retalking about still doesn' t upset or
alter it. But it also doesnot change for the better. Well,
sometimes that sacrifice is worth it whenit' s paid in the checkbook.
Let' s not expect it tobe no to you, but I congratulate
(07:01):
Daniel, because he' s aperson for twenty- five years and already
with this journey and what he's doing, because it' s something
that really motivates those people to havethat approach. Not if he can.
I too can and will achieve itno matter what circumstances I am living around
you. Yes, sir, yes, sir, I think the most important
(07:23):
thing is the sacrifice of time,because somehow, the economic sacrifice I feel
comes after, but the sacrifice oftime is somehow to arrange that most of
the time I need for my creationor for my invention or for this undertaking,
for whatever I want to spend,I need a lot of time on
(07:46):
my side. I can' tsay I' m flexible against other things
I have to do somehow. Ineed to set you up for a long
time. Without this is what Iwant to go into and talk about that
flexivity that you just told us,what that interaction with the people you are
(08:07):
directing is like. According to thestatement of thinking that I have here,
they are actors who are graduating fromthe drama school of the national theater,
but I don' t know,when you face actors who have already had
a tour, what that interaction islike. They respect him, they value
him no matter how old you are, because right now there is an actor
(08:28):
who is replacing one of the guyswho had just graduated and is a graduate,
because he already has a lot morecourt and who is also a graduate
of the theater house and let's say it' s another generation.
It is not other generations of thegenerations that were graduating when I entered,
not in any way, these kindsof people who have moved around in circles,
(08:48):
in a lot of training, ina lot of theater, in a
lot of cinema. And just havingit, because it makes me what you
say is like comparing it like thatdeal. But I don' t feel
like they have nothing to do withhow long you' ve been a graduate
when you' ve been working onthis to realize that this work is always
(09:09):
based on respect and listening. Daniel, when I have ever heard that there
are actors who like to be onthe tables that come up television, how
do you see that some actors thinkthat I do not want to be an
actor of novels of what television presentsor go to be a casting, but
(09:31):
I prefer to be on the tablesin what is really the essence of the
theater, because I feel that theyare different fascinations. Somehow, I feel
that when it comes to making moviesor making television, you don' t
feel so much pleasure when it comesto doing because somehow everything goes a little
faster and a little more controlled andsomehow, the energy isn' t focused
(09:52):
on that there are spectators about youinstead, when you' re in season
and besides you have this possibility thatyou repeat and repeat all the time,
because there' s function tomorrow andit happens tomorrow and the other week,
like this interaction that there are alwayspeople who come to just pay attention to
what I' m doing or howI' m moving, because I feel
(10:15):
that it allows me to enjoy alittle bit and realize that self- discovery
that I have when it comes toworking there. So if I feel the
pleasure of being on boards, thepleasure of being performing in theater, because
it is a little bigger or dilatedfrom the pleasure of cinema and television.
(10:35):
For me the pleasure of TV cinemais when you finish editing and either you
release that movie or it comes outon TV and you can see it as
the end result. That' swhen that kind of pleasure begins for me,
because I feel that before it's like so much information, now
it' s accurate and ta tata ta ta ta ta ta ta,
ta ta that somehow you don't feel so much enjoying it, but
(10:58):
in the end you see the resultsand you say no yes, you get
to do this that says you dothis. Well, Daniel. The play
premiered yesterday, April 4. Notas you see, the reception of the
people really impacted remember that the bossavoice is the main thing for the theater
to be constantly full. Then,as in that first act that were made,
(11:18):
what expectations he felt as director,as writer of this work, because
last week we had done some functionsas preview. And just yesterday, because
it was the stress, it wasa little more visible to the rest of
the world than was somehow existing.I had a little bit of this prevention
(11:39):
or this fear that we' llsay older people or that people who don
' t work just in some officeor don' t live out of the
theater, like they' ll somehowshow up a little extraneous to the play.
But it' s not really veryyes, it' s very important
for all kinds of audiences, forolder adults as well, and I think
(12:03):
it' s partly about a collectivevoid, which is that we all,
somehow wanted to be something different fromwhat we are now. And it'
s not like we don' tlike what we do now. It'
s not that we don' tlike to do what we' re doing
now. It is that, deepdown, we wanted or would have liked
to be somewhere else, in anotherjob, in another career, in another
(12:26):
country. That is, if thereis a spatial inconsistency, frustrated or ignited
or notorious or notorious. Then,as we all share this factor, the
impact was, well, super,because it was a win for all.
Actually, if people like to laughat that rhythm in ton, the play
is funny too and I feel thatthat is important. So, if we
(12:48):
already overcome that gap, we realizedthat the work does impact, that it
works, that it has fun,that it entertains, that it is a
good service. The important thing isthat you, as a spectator, feel
identified with what you are transmitting truth, because you just said so at that
moment. Sometimes you' re ina place, but you don' t
(13:11):
feel satisfied because this isn' twhat I wanted. This is what I
didn' t dream about being here, but it' s what I'
m up to and that' swhat it is. Yeah,' cause
the chances suddenly I let them pass. I don' t know how to
show up again, either out oflaziness or neglect. Well, under any
circumstances, sometimes you' re notin the place where you want to be,
(13:31):
and that' s the good thing. Let one see something and immediately
one says, well, mother,that' s what' s happening to
me. That is what I am, what I am living, what these
manners are transmitting to me through thiswork is what I am living. And
I have to laugh at what Iam living and these make me laugh at
what I lost or formulate myself tomorrowor the day after tomorrow. So,
(13:52):
to make a change of decision forthat, because I feel that when the
theater becomes u r a r thetheater, for me it does not have
to give you concrete indications of whatyou should do. For me, he
mustn' t tell you to changejobs or change carnals. No, because,
then, it' s just whenyou' re complaining every day about
being told what you should do.No. But the theater is profitable just
(14:16):
when it presents you with a lotof images, I hope you contradict it
so that you have as what tochoose from. Have to cut that you
choose it and from your own meansand from your own interpretations, make decisions
for your life. That, that' s like the taste that theater somehow
helps you formulate what you could suddenlydo. That' s, that'
(14:39):
s blessed for me. Well,Daniel, then let' s tell our
netizens. The play premiered yesterday,April 4. What a day he'
s gonna be on the air.Let' s say so the performances in
the theater, in the house ofthe National Theatre, where you can buy
the tickets so you can go tosee this play how you are. It
(15:00):
is a work that can be goneas a family or only for adults.
It is a play that you cansee in a patch of friends or in
a familiar patch without a problem,or you can go alone, as there
are people who go to theater aloneand in some way it is a different
experience. We' re going tobe here this week, today and tomorrow
at eight o' clock at nightand the rest of the weeks We'
(15:22):
re going to be here from Thursdayto Saturday until 27 April, also at
eight o' clock at night.There, in the theater house, tickets
can be obtained in any of thethree venues of the National Theatre, in
Castellana, on seventy- one streetor there is in the theater house,
and they can also be bought andbooked on the National Theatre page, which
is National Theatre. Punto com then, Daniel, thank you very much for
(15:43):
going through the microphones of Rosario Radioin these informative podcasts. I don'
t know if I have any socialnetworks where our netizens can know a little
more about their trajectory and also,well, be aware of what comes next.
My social media is Daniel l ll M. Daniel l MM That
' s my instagram and also,well, that of the platform group that
(16:10):
I call more platform than the domesticspectrum group on Facebook and Instagram. Daniel,
thank you for introducing us to thisnow cut your hand, for taking
the viewer to really identify if whatshe' s doing is really worth it,
if she likes the job or ifshe likes the environment, where she
is or if she doesn' tthink about finding another alternative so she feels
(16:33):
much better. Yes, yes,yes, you regret how many times you
want and Lord thank you, thankyou for this very rich space, as
rich reported for the informative podcasts ofRosario Radio Nelson Duarte
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