May 6, 2024 • 15 mins
"El Cadáver de Pensarte" es una obra de teatro que se presenta en el Teatro Nacional de Colombia del 3 al 18 de mayo de 2024. La obra nos invita a adentrarnos en la apasionante vida de Manuela Sáenz, ícono de la independencia colombiana, a través de la magistral interpretación de Camila Valenzuela y la dirección de William Guevara.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:02):
Netizens of a Rosario Radio, theinstitutional station of the Universidad del Rosario.
Once again, we welcome you allto this informative podcast. And today,
then, we are going to betalking about something wonderful that is being presented
at the National Theatre. The Casadel Teatro Nacional opens the corpse of Thinking
(00:22):
You, a look never seen byManuel Sáenz, or Manuelita Sáenz, as
we know her in our country.On May 3, the house of the
National Theatre premiered the corpse of Thinkingto You, a contemporary fictional work starring
Camila Valenzuela, who exposes a conversationwith Manuela Sáenz, a woman who,
(00:43):
with her strength, courage and struggle, is an example for current generations.
The monologue is directed by Willian Guevaraand the work is written by Pablo Velas.
That is so, it is thatwe welcome our guest actress this morning,
Camila Valenzuela, who is a graduateof the Bachelor' s Degree in
(01:08):
Dramatic Art from the Universidad Finisterra deSantiago de Chile. Cabila welcome to the
microphones of Rosario Radio and tell us, Well, how is this about talking
to Manuela Sáenz or Manuelita Sáenz,Well, yes, hello to everyone how
they are. Thank you so muchfor having me good. It has been
(01:30):
a rather wonderful process for me fromthe point of view that it is the
first time that a monologue as anactress, and that is a challenge and
also a privilege to have the stagejust for me and be able to share
it with Manuela Sáenz. Then,this work is born from the beginning,
as you said in the book ofPablo Velázquez, which is written in chapters.
(01:55):
Then director William takes him to adaptationand transforms him into a monologue and
it' s really quite a theatricalgame, because we don' t have
many stage elements. Therefore, itis only my body there in the search
to find this character, who isManuela Sáenz, in order to be able
to tell how passages from his lifethat maybe history or yes, history,
(02:19):
television, the media have not knownus to narrate or have narrated to us
in a brief way. Then itis also like to rehumanize Manuela, to
give life to a Manuela liberator,independentist, strong, ironic, funny,
in love, fiery, yes,a woman makes me curious. Manuela is
(02:46):
what the press release says that onany evening she had a meeting, she
met Manuela in an apartment and thereyou have that dialogue between you two.
How they begin to engage the publicwith that scene that narrates this press release.
I think what the play engages theaudience is that, even though we
(03:08):
' re talking about Manuela Sáenz,a character from a little over two hundred
years ago, is brought here tothe present. So I' m the
one who meets her and that's always liked us as the course of
time. I believe in history,in cinema, in art, how times
(03:28):
can be found to make this dialogueand that, somehow, it also happens
whenever the past is always present.We can see how this woman' s
life can be quite similar to mine. We' re both foreign and I
(03:51):
think it' s pretty interesting thestage devices we use. As I told
you how the things on stage arerecovering a new value, just as my
body is recovering new characters from ManuelaSáenz' s life. That' s
how we' re telling the story. So, the viewer I think is
always very attentive to what the actressis going to propose. Again it takes
(04:15):
us back to the past and,at the same time, the past brings
it to the present. Of courseI imagine it' s that camila playing
that character. Do you suddenly livewhat Manuel lived in his time and at
the same time, do you wantto bring Manuela to what is being lived
today with social networks? You imaginewhat people would think about how they would
(04:41):
treat you through social media, througha platform like x, through a platform
like Facebook? What Manuela would feelwith that harassment of what she lived with
the liberator Simón Bolívar. I thinkshe lived something similar in her time.
I mean, she was quite gossiped, as you might say, by being
(05:01):
moved from a famous Simon Bolivar.Sure, sure, sure. In addition,
at that time the macho society treatedher as a lover. I wish
I had felt it the Bride's dice, but they treated her like
the lover, as if she weresomething hidden, as if she was doing
(05:26):
something as forbidden when he was awidower and she was separated. Imagine how
contemporary it was, that is,how it advanced in her thought that she
was separated, that is, shedivorced at that time, said I don
' t love you anymore I leaveand divorced for Bolivar and was always super
gossiped, like they were putting posterson the street to ruin her prestige.
(05:53):
I don' t know anecdotes likeSantander once sent to be two dolls to
be burned in the square and itwas her. And Bolivar is very funny
in history, as if this speciesstill exists well as fun as scracheos call
me. But in that clear timeit was with things a little more how
it would be said as rococo.And today, I think you' re
(06:15):
still living the same thing. Notthe woman, if you live through the
exact noon, the woman continues tobe as guilty of many things as being
just, but it will always beas judged by things that society does not
accept. Let us put it thisway, yes, exactly yes, be
(06:36):
a walk with this work what youwant, with this monologue to pass on
to those spectators. I think ofsomething at least very important to me.
It is as always the past,it can be counted in the theater in
an interesting, attractive, present way. I also believe that it is humanizing
(07:00):
this woman, humanizing her you reallyknow how and giving her back this title
of liberator, of independence, ofa political woman, that is, she
was a political woman who devoted herselfto politics, also a romantic woman,
but how to give her this spacealso to understand where our rights come from.
As women, you know where thisfight comes from, that is,
(07:23):
it' s been coming from along time. Remembering that, I think,
seems important to me. If thetheatre were a verb, it would
be to imagine and remember. Thenwe are remembering the image of Manuela Sáenz,
but the image may not be sotold and good. And I also
believe that what we want to deliverto the public, this is like theater,
(07:46):
pure theater, present country theater,a body that is transmitting ideas,
stories, emotions, with entertaining strategies. I think interesting, Camila, when
Director William takes the flame and tellshim and presents this project to him,
what he thinks, what happens inhis mind, Camila, in that moment
(08:09):
to say I dare not, Iam afraid. I have to investigate what
kind of research he does in orderto be able to say to embody Manuel
A Sáenz, but that investigation byManuela Sáenz how it was so that Camila
could get to do this thing thathe is presenting today at the National Theatre.
Well, I read Pablo' sbook that there is much more information
(08:33):
than in the work and nothing documentariesInternet and also through the history of Colombia.
He can interpret it quite well insomething very curious, for example,
that I can say that I discoveredthat this is shared by Pablo is that
Manuela Sáenz hated that they said Manuelitadid not like the diminutives and there is
(08:58):
not well known if it is hertomb, but there is a tomb in
Peru where she ends her days andyou can believe that Manuelita Sáenz says in
the tomb. Yeah, that scoundrel' s your scoundrel' s got respect
for Dontena. I never know andnot when I' m invited to make
the time clear, the first thingI do before casting is read the book
(09:22):
to me. Before they even toldme that she was going to be a
part, read me the book toknow how to get to this character who,
because I totally didn' t knowand then I wasn' t afraid.
I love being an actress. SoI consider that every project I'
m invited to is a rather interestingchallenge. Yeah, it gives me a
(09:43):
lot of vertigo because it' sa lot of text. So it'
s a memory job, quite aschallenging. So that' s what I
could tell you that makes me vertigoas the text and sometimes understand that I
' m alone there with the viewer, because normal when you do a work
that is not monologue. You've got a partner who saves you,
makes the joke and accompanies you behindthe scenes. But here Manuela' s
(10:07):
ghost no longer accompanies me. Goodhere in Colombia. I said he said
breakfast knows how he' s goingto make lunch. On May 3,
the work was presented. How wasthat acceptance of the audience that was there
in the house of the wonderful NationalTheatre. I' m super grateful for
(10:28):
how it happened. It was wonderful. Wonderful I really think that I think
the audience has come out as happyto see this staging of Manuela, also
as of the artistic work that isbeing done and technical that I think the
work has is like quite compact forthe viewer as it has beautiful images,
(10:52):
has very interesting passages, has emotionslike that I really feel that I live
through Manda in the work, becausethat is what I try to do.
Then it was quite a warm applause. We had a full room. Then,
Saturday also came a fairly grateful audience, wonderful that excited me to my
(11:15):
feet. How you say it inChile with your applause. Then the truth.
I think it' s going tobe a pretty interesting journey for this
play and I hope it has along life. Well, then, for
netizens who are listening to that podcastand haven' t had a chance to
be there. I am talking tothe netizens of Bogotá, what they would
(11:37):
like that this audience who has notgone could learn from Manuel Sáenz Camila from
this monologue that what I told youa little while ago, that is a
woman who fought for our rights bothof men and women, a woman who
was on the battlefields, a womanwho dressed as a man to fight side
(11:58):
by side with Bolívar. Yes,a liberating woman who fought for freedom then
and falls in love is also awoman of toma y lomo, a living
character, a human being. Thatwould interest me if you could see that
she was also very funny. Thatwould interest me if the audience, like
(12:20):
to make you curious and approach thehouse of the Theatre accompany us on this
trip next to Manuela Sáenz. Whatdid you learn from Manuel la Saenz?
What is Manuela giving Camila saenza ora lot of agility. I think I
was an agile person, as inhis romantic thinking, that is giving me
(12:45):
the freedom, the freedom to create, the freedom to travel through it and
what I tell you really, reallybring back these powerful women who, maybe
we don' t remember them orgive them the place they deserve you know.
I don' t think she's been valued as the things Camila
(13:07):
did really good. Well, ifyou' re taking this play on stage
there, at the National Theatre house, we want you to tell us what
days people are going to be onstage, how you can buy the tickets
to be there at the National Theatrehouse and enjoy this play that, then,
is taking away at that moment andwell, the body of thinking about
(13:30):
you is going to be from Thursdayto Sunday for five, four more weeks,
I create a cortica season. Thenwe leave from Thursday to Saturday at
eight o' clock at the theaterhouse. It is the headquarters of Teusaquillo
and can buy tickets through the pageof the Camila National Theatre. Thank you
very much for going through the microphonesof Rosario Radio in these informative podcasts and
(13:54):
since I would like to congratulate heragain for what she is doing with this
monologue and, above all, forreviving a character who, therefore, left
many teachings and, as we saidat the beginning, also suffered many things,
much persecution by many people for beingthe lover or bride of a great
(14:16):
character like the liberator Simon Bolivar.Many thanks to IT for this space have
been our guest on this occasion,our actress Camila Valenzuela, who has shared
with us what is this work thatis being carried away in the house of
the National Theatre, which is presentingthe work the corpse De, thinking so
(14:39):
that we invite you so that youare there interacting with this work. Reported
for Rosario Radio Nelson Duarte
Netizens of a Rosario Radio, theinstitutional station of the Universidad del Rosario.
Once again, we welcome you allto this informative podcast. And today,
then, we are going to betalking about something wonderful that is being presented
at the National Theatre. The Casadel Teatro Nacional opens the corpse of Thinking
(00:22):
You, a look never seen byManuel Sáenz, or Manuelita Sáenz, as
we know her in our country.On May 3, the house of the
National Theatre premiered the corpse of Thinkingto You, a contemporary fictional work starring
Camila Valenzuela, who exposes a conversationwith Manuela Sáenz, a woman who,
(00:43):
with her strength, courage and struggle, is an example for current generations.
The monologue is directed by Willian Guevaraand the work is written by Pablo Velas.
That is so, it is thatwe welcome our guest actress this morning,
Camila Valenzuela, who is a graduateof the Bachelor' s Degree in
(01:08):
Dramatic Art from the Universidad Finisterra deSantiago de Chile. Cabila welcome to the
microphones of Rosario Radio and tell us, Well, how is this about talking
to Manuela Sáenz or Manuelita Sáenz,Well, yes, hello to everyone how
they are. Thank you so muchfor having me good. It has been
(01:30):
a rather wonderful process for me fromthe point of view that it is the
first time that a monologue as anactress, and that is a challenge and
also a privilege to have the stagejust for me and be able to share
it with Manuela Sáenz. Then,this work is born from the beginning,
as you said in the book ofPablo Velázquez, which is written in chapters.
(01:55):
Then director William takes him to adaptationand transforms him into a monologue and
it' s really quite a theatricalgame, because we don' t have
many stage elements. Therefore, itis only my body there in the search
to find this character, who isManuela Sáenz, in order to be able
to tell how passages from his lifethat maybe history or yes, history,
(02:19):
television, the media have not knownus to narrate or have narrated to us
in a brief way. Then itis also like to rehumanize Manuela, to
give life to a Manuela liberator,independentist, strong, ironic, funny,
in love, fiery, yes,a woman makes me curious. Manuela is
(02:46):
what the press release says that onany evening she had a meeting, she
met Manuela in an apartment and thereyou have that dialogue between you two.
How they begin to engage the publicwith that scene that narrates this press release.
I think what the play engages theaudience is that, even though we
(03:08):
' re talking about Manuela Sáenz,a character from a little over two hundred
years ago, is brought here tothe present. So I' m the
one who meets her and that's always liked us as the course of
time. I believe in history,in cinema, in art, how times
(03:28):
can be found to make this dialogueand that, somehow, it also happens
whenever the past is always present.We can see how this woman' s
life can be quite similar to mine. We' re both foreign and I
(03:51):
think it' s pretty interesting thestage devices we use. As I told
you how the things on stage arerecovering a new value, just as my
body is recovering new characters from ManuelaSáenz' s life. That' s
how we' re telling the story. So, the viewer I think is
always very attentive to what the actressis going to propose. Again it takes
(04:15):
us back to the past and,at the same time, the past brings
it to the present. Of courseI imagine it' s that camila playing
that character. Do you suddenly livewhat Manuel lived in his time and at
the same time, do you wantto bring Manuela to what is being lived
today with social networks? You imaginewhat people would think about how they would
(04:41):
treat you through social media, througha platform like x, through a platform
like Facebook? What Manuela would feelwith that harassment of what she lived with
the liberator Simón Bolívar. I thinkshe lived something similar in her time.
I mean, she was quite gossiped, as you might say, by being
(05:01):
moved from a famous Simon Bolivar.Sure, sure, sure. In addition,
at that time the macho society treatedher as a lover. I wish
I had felt it the Bride's dice, but they treated her like
the lover, as if she weresomething hidden, as if she was doing
(05:26):
something as forbidden when he was awidower and she was separated. Imagine how
contemporary it was, that is,how it advanced in her thought that she
was separated, that is, shedivorced at that time, said I don
' t love you anymore I leaveand divorced for Bolivar and was always super
gossiped, like they were putting posterson the street to ruin her prestige.
(05:53):
I don' t know anecdotes likeSantander once sent to be two dolls to
be burned in the square and itwas her. And Bolivar is very funny
in history, as if this speciesstill exists well as fun as scracheos call
me. But in that clear timeit was with things a little more how
it would be said as rococo.And today, I think you' re
(06:15):
still living the same thing. Notthe woman, if you live through the
exact noon, the woman continues tobe as guilty of many things as being
just, but it will always beas judged by things that society does not
accept. Let us put it thisway, yes, exactly yes, be
(06:36):
a walk with this work what youwant, with this monologue to pass on
to those spectators. I think ofsomething at least very important to me.
It is as always the past,it can be counted in the theater in
an interesting, attractive, present way. I also believe that it is humanizing
(07:00):
this woman, humanizing her you reallyknow how and giving her back this title
of liberator, of independence, ofa political woman, that is, she
was a political woman who devoted herselfto politics, also a romantic woman,
but how to give her this spacealso to understand where our rights come from.
As women, you know where thisfight comes from, that is,
(07:23):
it' s been coming from along time. Remembering that, I think,
seems important to me. If thetheatre were a verb, it would
be to imagine and remember. Thenwe are remembering the image of Manuela Sáenz,
but the image may not be sotold and good. And I also
believe that what we want to deliverto the public, this is like theater,
(07:46):
pure theater, present country theater,a body that is transmitting ideas,
stories, emotions, with entertaining strategies. I think interesting, Camila, when
Director William takes the flame and tellshim and presents this project to him,
what he thinks, what happens inhis mind, Camila, in that moment
(08:09):
to say I dare not, Iam afraid. I have to investigate what
kind of research he does in orderto be able to say to embody Manuel
A Sáenz, but that investigation byManuela Sáenz how it was so that Camila
could get to do this thing thathe is presenting today at the National Theatre.
Well, I read Pablo' sbook that there is much more information
(08:33):
than in the work and nothing documentariesInternet and also through the history of Colombia.
He can interpret it quite well insomething very curious, for example,
that I can say that I discoveredthat this is shared by Pablo is that
Manuela Sáenz hated that they said Manuelitadid not like the diminutives and there is
(08:58):
not well known if it is hertomb, but there is a tomb in
Peru where she ends her days andyou can believe that Manuelita Sáenz says in
the tomb. Yeah, that scoundrel' s your scoundrel' s got respect
for Dontena. I never know andnot when I' m invited to make
the time clear, the first thingI do before casting is read the book
(09:22):
to me. Before they even toldme that she was going to be a
part, read me the book toknow how to get to this character who,
because I totally didn' t knowand then I wasn' t afraid.
I love being an actress. SoI consider that every project I'
m invited to is a rather interestingchallenge. Yeah, it gives me a
(09:43):
lot of vertigo because it' sa lot of text. So it'
s a memory job, quite aschallenging. So that' s what I
could tell you that makes me vertigoas the text and sometimes understand that I
' m alone there with the viewer, because normal when you do a work
that is not monologue. You've got a partner who saves you,
makes the joke and accompanies you behindthe scenes. But here Manuela' s
(10:07):
ghost no longer accompanies me. Goodhere in Colombia. I said he said
breakfast knows how he' s goingto make lunch. On May 3,
the work was presented. How wasthat acceptance of the audience that was there
in the house of the wonderful NationalTheatre. I' m super grateful for
(10:28):
how it happened. It was wonderful. Wonderful I really think that I think
the audience has come out as happyto see this staging of Manuela, also
as of the artistic work that isbeing done and technical that I think the
work has is like quite compact forthe viewer as it has beautiful images,
(10:52):
has very interesting passages, has emotionslike that I really feel that I live
through Manda in the work, becausethat is what I try to do.
Then it was quite a warm applause. We had a full room. Then,
Saturday also came a fairly grateful audience, wonderful that excited me to my
(11:15):
feet. How you say it inChile with your applause. Then the truth.
I think it' s going tobe a pretty interesting journey for this
play and I hope it has along life. Well, then, for
netizens who are listening to that podcastand haven' t had a chance to
be there. I am talking tothe netizens of Bogotá, what they would
(11:37):
like that this audience who has notgone could learn from Manuel Sáenz Camila from
this monologue that what I told youa little while ago, that is a
woman who fought for our rights bothof men and women, a woman who
was on the battlefields, a womanwho dressed as a man to fight side
(11:58):
by side with Bolívar. Yes,a liberating woman who fought for freedom then
and falls in love is also awoman of toma y lomo, a living
character, a human being. Thatwould interest me if you could see that
she was also very funny. Thatwould interest me if the audience, like
(12:20):
to make you curious and approach thehouse of the Theatre accompany us on this
trip next to Manuela Sáenz. Whatdid you learn from Manuel la Saenz?
What is Manuela giving Camila saenza ora lot of agility. I think I
was an agile person, as inhis romantic thinking, that is giving me
(12:45):
the freedom, the freedom to create, the freedom to travel through it and
what I tell you really, reallybring back these powerful women who, maybe
we don' t remember them orgive them the place they deserve you know.
I don' t think she's been valued as the things Camila
(13:07):
did really good. Well, ifyou' re taking this play on stage
there, at the National Theatre house, we want you to tell us what
days people are going to be onstage, how you can buy the tickets
to be there at the National Theatrehouse and enjoy this play that, then,
is taking away at that moment andwell, the body of thinking about
(13:30):
you is going to be from Thursdayto Sunday for five, four more weeks,
I create a cortica season. Thenwe leave from Thursday to Saturday at
eight o' clock at the theaterhouse. It is the headquarters of Teusaquillo
and can buy tickets through the pageof the Camila National Theatre. Thank you
very much for going through the microphonesof Rosario Radio in these informative podcasts and
(13:54):
since I would like to congratulate heragain for what she is doing with this
monologue and, above all, forreviving a character who, therefore, left
many teachings and, as we saidat the beginning, also suffered many things,
much persecution by many people for beingthe lover or bride of a great
(14:16):
character like the liberator Simon Bolivar.Many thanks to IT for this space have
been our guest on this occasion,our actress Camila Valenzuela, who has shared
with us what is this work thatis being carried away in the house of
the National Theatre, which is presentingthe work the corpse De, thinking so
(14:39):
that we invite you so that youare there interacting with this work. Reported
for Rosario Radio Nelson Duarte
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