El Podcast de Marco Antonio Regil - 377.- El poder oculto del lenguaje no verbal - Bárbara Tijerina

Episode Date: May 26, 2025

¿Has sentido que alguien dice una cosa, pero su cuerpo dice otra?El cuerpo también habla y muchas veces dice lo que la boca calla. En el amor, esas señales pueden ser la clave para entender lo que está pasando de verdad.En este episodio, Bárbara Tijerina, experta en lenguaje no verbal, te muestra cómo escuchar con los ojos, leer las emociones ocultas y mejorar tu forma de conectar.Porque cuando aprendes a leer entre gestos, también aprendes a elegir mejor a quién entregas tu corazón.El amor empieza contigo. Y así como puedes aprender a leer a los demás, también puedes empezar a escucharte y entenderte mejor.En mi clase ¡GRATUITA! “Descubre tu Potencial y Alcanza tus Sueños”, te comparto herramientas para dejar de procrastinar, construir hábitos poderosos y dar el primer paso para empezar a construir tus sueños.Inscríbete aquí:👇🏻https://marcoantonioregil.com/potencial-yt/¿Quieres profundizar más? Descarga GRATIS nuestra revista digital y encuentra contenido inédito del episodio de la semana. Da click en: https://marcoantonioregil.com/aprendamosSigue a Bárbara Tijerina en:https://www.instagram.com/barbara.tijerina/?hl=es ¡Conéctate con mi equipo y conmigo en nuestras redes sociales para no perderte ninguna novedad ni contenido exclusivo!Facebook: https://www.facebook.com/MarcoAntonioRegil/  Instagram: https://www.instagram.com/marcoantonioregil/    TikTok: https://www.tiktok.com/@marcoantonioregil   Linkedin: https://www.linkedin.com/in/marco-antonio-regil-71784568/    En mi canal de Telegram, comparto contenido exclusivo e invitaciones solo para fans. Únete aquí: https://marcoantonioregil.com/telegram *Importante: Nuestros invitados son expertos en sus temas y reflejan su conocimiento y su punto de vista, siendo conscientes de que cada una de las opiniones es totalmente personal. La información, datos, comentarios, estadísticas que se presenten en el Podcast de Marco Antonio Regil, son de exclusiva responsabilidad de quienes las emiten y no representan, necesariamente, el pensamiento de Marco Antonio Regil o de la producción del podcast.

What delata a person infiel? The language no verbal. The body grita what the book caleb. Ah, carie. Many partners do use them as well as I'm going to ignore. Ah, yeah, the law of yelon.

Yes, yeah, I'm going to say, with all my attitudes, that no me import. When the parties are disdanceance, or they're going to have problems, what it's

apart of the communication, are the miras. No, there's more more sad than to be with someone and feel that you are alone in the language

no verbal what you is what you is the thing that's a sign that's a question that

I'm saying you're saying that no me you know the the body

how the man to how many? To how much we're not would learn

the language not verbal the language corporal of the person that we're a person

we're intelligence emotional in the language corporal and the comportment human has been more of 10 years of experience, assesorando executives and a figure

of the sector public and private in abilities of communication, whose numbers omitimus for things ethical. But it's people very,

we're ready to start with the podcast. We've been invited here in our studios of Alma Matters to our central to

our center of production, to the public that is part of our courses in line of students. How are

chicas, chico? Welcome. we're ready. So, then we're going to that episode 375

The podcast of Mark Antonio Regil is a production of Argyll Entertainment and all his

rights and all the thing that Barbara Tigerina that's that's that's even is

that you know even though don't even you because when you're when you do you

when you do you be studying to be studying to me yeah to what

what I'll what you What's what I'm saying my language no verbal in this moment? Look, for the prontopening us

if you're a lot of the postures are exactly like if you're in my leg, right to be the same side. So, there's rapport.

What's rapport? Cintone. Connection. Good on. So when someone is in the same position than I

there's a good principle. It's a very good principle. What more? What more? What's is in

my language to say? I mean, I mean, I'm to say that the body says that the

body Kaya. And as you said, more than the 80% is no-verbal. And, also, if you put to see a bit to be, the human has many more years communicating to be a way no-verbal, than

verbal, because first we were signs, like the animals, and then we learned to talk. If we're we're going to be able to, because of babies, our moms or our cuirators, they're, they're, can learn our

language no-verbal. There's to know sensibilize. A At times we're very distraided, seeing papers, viewing the, oh, and the cellular. That is a sign, Clara.

If I'm talking with you, I'm doing the cellular, I'm saying, that no me important. That there's a

more important than you. A me pass after after when you know, and I'm going, and what you and the color I was the

person with the person with the person with you, no me I'm not. No. You know, a way,

you're going to you know, how you went to your You say, well, ah, to do that. Well, you know, he'sed his eyes

full of the larkreys, you know, was that with the hand was making massacito, you know the not parable to move us,

but he went and there a great big danger there there can't be a great picture. So if you

don't know verbal, you how do you can't you can't in many words? In

many words, are four things. Look, the the entorn communicate. Uh,

your coach, your officeina, how is you know,

or the way you get if you get a or you know, or the office when you go to have,

you're going full of folders and then you and then go the time and it's so the environment.

When you get to the medical, you get us and it's impossible not to get you and you're

and you're like you see it's there's a plantita if you have a cedula

if you have a and you see a a plantita and if you see the plantita and if you see the plant you'll have a better

suerty this, this no not salva not even one is the one thing. One thing is the

first thing is to get to or with a professional or is malvesto that's a bad

that's the second no the moustache the bat of the medical well and

you say the the ropopop but for example a me me took a dermatologist that

had the dead of padastros. And you were to revise and say, Wackala. I went to

a talk to a hospital and the director came to go and me said, hey, we know,

we're a man, is a medical exitoso that apesta. Oh, wow. Apesta cigar. And you

can't say you, you can't say, are things that nobody to say. So,

so it's the entorn, the the role, the are the thing

is the thing is language. All that is language no-verbal. And, and also the pointuality,

if someone gets a time or gets a time, it's a very important. The odor, the

is fundamental. I mean, there's a child that's this Chabes is a great-same, this,

we're going to get, and the and the and the and you know I'm going. Wuele a

tachos. Well, a more that's good for someone more. But there some

medical, some studiosos of the language no verbal that can be a

saying that you not are you know I'm not a way my spouse me is

prohibitive that your husband is scientific. He is very scientific and this and the

fact is the study of the language no verbal and in all the statistics

are relativas so they're they're doing a lot so

when you when you do you when you when you you when you you're

like Right. I mean, there can be the rechastor or the acceptation.

Sure, or you're or but it's that your DNA not is compatible with the

and the other are the the hands, the postura how you your

your tone of the tone of voice is directly connected with

your system emotional your your voice can be your voice is different

when you when you when you when you are when you You're nervous.

The voice, the voice, the voice can be. Sure. It's distinct to the voice of a mom with his kids, that when is a master, that when is executive. So, when you

do you do, or you do, someone, you know, to do you know, that's different? And, really?

And the people should be more conscious of the tone of voice that uses. Uh-huh. No, I don't know

has been, sure you have to have passed to the radio, that someone and that has a monoton. Monotone.

Yeah, monotonos, Or so, for more that you want to put attention, there's an instant in that the eyes you're doing like a peasant, because you're just you're going to be

a lot of year. So, I'd passable six, seven mises, two dominoes. Between the, the two, the world's between the Saturday and the

same evangelio and the, and the same sermon or omilia, then those parents they'd rompian, I said, they'd run to the people and the

missts were in all the mists, and there were some saints, but God those abandoning when they'd

when they in the microphone. What horror, what horror is to hear someone so hear of

so you know even in silence, I'm in there, even in silence, all we're saying,

who are we're doing, who we're we're not we're, how we we're the attention,

the parpadeo, the parpadeo when you when you're when you're when you're we're

we're talking, because we're talking the love and the language no-verbal. You're just you're going to you're going to

say, oh, we're going to go, we're, we're going to and you're so you're so nervous. So it's too

nervous or nervosa? Not parpola just it's just a bit of the eye that's the mind of a depredator.

Yes, is what you does it? It's a fear of the eyes, my chitter the yeah,

let me to see it. You know, you've passed that someone that's being that's that's,

that's not, of the she's the mind? Like, what? You know, you're going to? So, you're

like, you're seeing, and, how is it, how is that the eye? Well, the mirro, the mind

has a function and you a reaction physiological with the mind. So, for example, if you you're going to

your perrito and is with another perrito, and they're in this contact visual, in seconds,

in seconds, they're to be able to care, or they're to belear, sure. It's

active the physiology. did you're an experiment with changos in where there's a person and no I'll wait to

see a chango and then the chango shango is a haulita and when he's a looking and it gets a being

and it's he gets looking into the chango and gets to get that haula not support

that mirate because that that mirate that's a way that's when we're when we're when we're

when we're we're a much good but but what natural and me when you

to askorar to someone, they're saying, hey, but I'm going to have to be doing it all the time

so. No, no. No, no, no, no, not, no, what is important

and what do they're what they're those triumfators. The ganaders. The ligators. What are? The conquistadores.

The conquist and the conquistadores. What are? It's that is that they're they're going,

but the phrase final to let you they're they're trying and that's the grand final. Ah,

it's like a remate. It's like a remate. Right, to the reverse. Smash. There you go.

Yeah. The life. The philosophy. The love. Ah. And you, oh, my,

I'm embarrassed just to be me. I'm going to do you. Yes, because if you see,

the impact. Sientes the impact of the mind. Okay. So, let us to be what

is what we do we do we also. But first, what is what is what we're doing to do. What is what no. What is what we need to do.

I'm always saying, the truth is that I know where I learned, but me is very pointal. The love is attention. The love is attention and attention is mirroats,

listen, the love is to be all the time. So, attention, even to go to go to the super and I did the

and I agree with you and I got to do. That's the attention. The love is attention. And it's been in therapies that when the pairjas is enamored, there are a much

major contact visual. And when the parents are they're or they're to have problems, what the other from

the communication are the eyes. There's a therapy in that the when the is going to

be, they're going to be, they're going to look to look at the eyes to the

If there is something good in the pariah, in that mirab, there will be pardon,

will be there there no more there's there's that there all,

all of the all, so you as you as you can't identify if a

part of a person or is depending of the interaction between you?

Just, just just just, just no, no is that I'm

that I'm a broo, a little. A bit. My husband I'd say But, well All we have

that capacity Just have to develop it has to train the muscle of the observation So I mean

for example An airport is a day of camp A debate political is a delicia

Because for more that they're They're they're going to do you They're

a lot of things It's a set for example That the adrenaline

has that the the book or the women, for example,

when they're not very to come to get to come to make a

a palus imaginary. The women, the women we're going to the collar. The body

starts to have a series of language, a language. It's really that if you

like a woman, it's a, it's a person, is a is a

real? 100. If it's if it's if it's to grab the hair. Helen Fisher

wrote a book that's a anatomy of love. And she study the animals. So,

why this pacharito was enabored of this and what is what is the thing? And what's

what you do you? And why he's got to the and the other? And at

final, we're not animals, so we're we're doing the same. Between that's

that's we're like the same. We're talking about of aves, no? Yes,

yeah. This, I'm going to No, this, I'm saying, I'm going to have you, they've been,

they've been, they've been, those who have is a way of, it's a way that's a time you know, that's a

because it's seven isles and the most beautiful is, in some of the islands, is to be the

rituals that the birds, the species specific. To, exactly, to conquer. And what do?

And what are, there, there one, the, the, the, the, the,

, Supposedly, the most peces are are the others. So, so they're and they're in

peaces about and they're in a clavado. Macho, alpha. So, so, yeah, fah! And so,

the, they're, the fish, while the men, are the peskators are, the patitas

are more as they're alles. So, so they're in the pheritas, the, those, the,

the, and the piquero, does a do a ballet that's the balle of the bifier or the booby dance

that they're in English, And it's like, like, like, and it's like, my patitas azules. So,

so they're to show them, and the ambri- and thence he's chas and he's, he's a good pachor.

It's a good probeer. And there are others that have the cooceece and so they're so they're

and they're and they're they're the pacharita also, and that's the thing and that

and the pavoreal? The pavilion? The pavilion is the, he's, the human is the human is like. For example, in Tinder,

the women see, we're taking the photo, we're taking the photo, with the camera up. Because? Because we're

because we're this way, it's very famous. No. The trompa of patto is in a no, no, we're doing.

We do, we're like, that's like the little bit of the catito, also like the cat with botas? Me protectes,

for favor? Ah, chiquita. It's the mirrored. How is it? Vienned it. That's right. Ben and protect me?

And one of Brutto is going to be thinking that can't protect? Also. And the photos of Tinder of the

men are the other than they're going to see a great patas assules. I'm you're not

I'm sure, I'm not. So, so it's really, the woman, his language corporal when

you do you do you use the indefense? In the mirab as she, he does make

a real good, because like I'm in the , fiatte, what I said Helen Fischer,

in the first three minutes of a relation, you know, you know, you can be a pair

and you can't work, or no. In the first three minutes. And I

was about right, that you said, what you did you, the language no verbal

in the parents, my parents, they're they're, well, they're

they, well, they're, they, they, you know, In a place

Camin'amines The women in one direction And the other direction. Imagineate so decide your

your partner. So, just chandol eye. And my mom so and my mom did he made in

my eye. My abuel, I saw, my little came down in Campeche, and he he was going to

talk to answer and she. Imagineate all what you percives to see a person, how

it's Robert Green wrote a book that's about the 48 of the

power and he and he about the importance of the language

no verbal and he about a psychologist that's a he

he did polio he was a part of a little that

he could move were the was he being in this

situation of repos he was ultimately sensitive It's like when you have a

one of the five senses and the other and the other are more so he was he was in the he was gonna and he was

he was gonna when he said he said so but that was I didn't identify all right and then he said

then he went recuperating he studied psychology and what he did is that his work is that his work to

the mere front because he he liked to be when he when they'd the patients,

how they'd come down. And of how were coming and how these

pair of they'd say much of that person. Some people are like qualities of a

man, of psychico. No, so, no, so, no, the study of

the language no-verbal has to be with the psychology, with the sociology,

with the anthropology, with the study, etology, that is the comportment.

So, so we all we can develop that ability, the, the, the,

how they're coming, when you know, when you know, when you're saying, you know, and it's

been very, you've heard of the word, intelligence, intelligence, no-verbal. Now,

now it's about the intelligence, no verbal. Or, of, to know, to be

to know when to ask, the increment, so, if you say,

the Lune's I'm a good to get to the other and the first to get to

get to get to the cart that's you know to get to your your intelligence

no verbal you're saying it's a moment of the time to pay the thing to get to

the person and to find the moment for all so also then

when you you you're you're to put to you're to do

you want to you do it also you're you it's

like you I mean, I'm sorry. And the and the Juebys and the

Juebis something a lot to do it. And it's apachurrata but I said the yearnest

the day, well, you know, not you're going to do you know. What does do you know, language

attractive, language conquistador, language I'm going to say something that's very chemado,

but principally to be you you're not, because, I'm a very trillated,

no, I'm sure you're in the language no verbal what you bring a is what you

know it's when someone says, I'm going to be a very sympathetic and I get to

get to you know it and not you see, and the people know, so is horrible.

The people know that's for example the movements of the

movements of the move a fraction of a So, so, so, so, so, so, so, so, so, so

are authentical, when are ensigned, you know, you know, you're saying, is that, is that, although I'm expert in language no-verbal, something, no-verbal, something, no, me quadra. So, if, somebody said, look, for example, the postura

of stiple, or this, of pyramid. Yes, jemas of the little bit, jemas of the other. Jemas of the other. Yemas of the other. It's, is a posture power. And it's a good

if you're going to a lot of a lot of a lot of things and you know, but the

language no verbal is the most important, fuf, he gave power. But also when it's enshrated,

imagineate that someone gets, oh yeah, my love, I want you get a much

and you get a man, with a form of pyramid because you know that

that was I think the authenticity is basic. So what what is what if you have to

do you authentic. Ser authentic. What more? Put more, to put attention. In where you can't see a

parke of a person, you know, you're going to be going to you're going to those feet. The feet.

Those feet. The feet. The feet are saying something? The feet are you? In the

love, the feet do you do they're in the zapato? But where are you going to

do they're in the love? Yes. There. There's to find in the

The face, you can't control. You can't do you. You can't do you. You know, you see, the barrages, these are so, you're doing, you know,

does it's car like like, um, not it's not. So, with the car you can't control, the hands, but

the feet are allegated of the Cerebr and have their own own rhythm. The feet,

when you interest to someone, the point of the feet are directed to your

object of the object of desire. I went very So, in the object of

of desire? No, no, not, no, not it's you know, you're you're up

you're to put you to do? To put it not, no, it's a dictionary,

that's, it's that me's, no, so it's not doesn't do it doesn't

know, he doesn't or at maybe, or at maybe he's someone more.

Yeah, or there's a guy, here's a put to no, but, but,

it's said, for example, the pieces like the anclage of the tibillos

generally generally communicate incommodity for example we're you we're doing something and we're going to

and you're going to do you know so you're so you're I'm going to I think that the that the

pay is tomorrow yeah not before that I'm I'm going to you know I can't be four

pavos okay we're still that's more complicated to learn because you're

in a date we're talking the We're talking of the love of the So in a sceneita that normally

the first you're going to you're going to about the bed at the feet but then you do you

like it's like you get to be to get the and you see if you see the if you've been the feet

in the feet of the yeah is that no no no not no you're

not not not going to not but you you're you're you're

you're you're you're this this night sene 10 in conduct

10 in conduct now Some some about the language no verbal

in the camera but that that's a podcast no no no no let me

let me let me say we're we're what you do you know what I'm what we need to

do you not only not only not in a relation what we do you know

but but the language not in the problem for for

you know you don't you don't you know after so after after

after the podcast you want to you The fault of confidence? Do you think you know you need the necessary

to build the life that you want and you merces? The insecurity is a challenge very common. So if you're sientes, not you do you feel as well, because that's very common. Sin embargo, there is to know that this limit

the potential of many humans. The theme is to give us and to find out of there. As well, you know, as long of my career of 40 years, me have been to reinvented

and start from zeros one and other way, justly for not conforming with something that no want my life. And in this

way, I've discovered some secrets that can help you too, to confier in your abilities and to

trydert to to make that's sure, but that's that you're really, and go to

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in the class. And now we're we're going with the podcast. The

language no verbal at the hour of the time you did you

took the camasut of No verbal. Oh, in what I in what I met with

the camera, right? No, I'm going to reduce just to the couple of the part of the part of the

language no verbal in the camera also does it? Yes. Well, if you're in the camera

with you you're saying something obviously. Yeah, yeah, there was a or a

little? But at a little, you know, you're doing with that person? You can't

know how many times there can't, if they're spalded with the spalda

and a armuade in no, no, well, that's this divorce. The perro in the middle.

The perro in middle. Well, that's in so you invite us. But, but the

parents that are you are changing their language in the in the camera and they're

in the way, that's that's a matter, that's that's that's

the thing the enormomom so it is a months and in a

first you want to be and you that son-on-combeau the carerousita

roja because, because, fift, in the parke, in the paris, the parochemica in the

language no-verbal is the study of the distance. There is distance intimate, personal, social,

and it depends the rank of the person, if someone is very very very to you

and it's to be a person, you're going to be a person, you put a

ball, you, put the term, or something. But when you're in a time,

the distance is a little. For what? Like I said the abelite to let'ser to make more.

For a loo is the lobo is the loo for you. To be yourself. For to talker you and to

get you to eat and to eat more. So, so if are the things

well, you know, you know, what's what you know the the time?

You can you There is much more rapport. There's much more more understanding. What is what not we need to when we're

when we're conquisting someone or in a, in a relation? Language no-verbal, errors. Errors. Look,

errors. There's an micro-expression that is the desprecrow. When you studied the language no verbal and Paul Leikman

established that in any place the world, the sonrisa can move the same muscles,

and the restes in Mexico, in any part. The like the joy, the

surprise, the surprise, the asco. The desprecise is an expression unilateral. A mueka. A mueca

in where is a side of the face. Tuorces the boca. The boca torsida.

If you see how photos of profiles of professional in LinkedIn are so with the

book of a look a look and why not they they're they're they're

so. So that is something that is something that is it's a very basic and there is and there. And look

to look to look to see about. So, that's right to be right to be a arrogance.

Arrogance so, so like, the barbilla. Levantando the barbilla, a barbilla, a one of

a man was I was thinking no, so I said, there's a right here rapport yeah,

there's a yeah, so yeah, so Donald Trump is just so you're seeing. That's so you have to evils. You have to avoid, you that's

anti-ojo. Yeah. I mean, I mean, we're just, we're going to see over the anteoho,

to be, uh, uh, a very, you'd like that would be, my therapist when I'm put

very loco, yeah, well, I'm inferment, so, what did you? No, or so,

so, so, I'm, like, a, it's a, it's, so,

I'm, so, so, I'm, so, so, so, so,

So, political Mexican for those who are those who are the people. Look, they're much

for the lens. It's that the mirate is fundamental to establishes connection. For that

when the people try the lightes obscures you generate like, what is

thinking? How is you're thinking? Now, these photos of Melania Trump

in the day of the time of a time of a way, there's there's

and we know we know if she was, she said that the power no

the power no the which is very very very. The power not look. The power

not look. I mean I'm to make a reference political because the fact that the way

the life of the artistes that's very much. The political those politicians those

are the people are the people who are so much that's because if you see to be the

president Argentina Milley no that that's like you

more more than you know you can't you know is a language

corporal very similar of Trump, very aggressive. It's like to be a bad or not not to be

not to not to be. No, not to be. Well, the photo of Donald Trump in 2017

when he was president in the period anterior. So, his photo official is

with the menton equilbrated right, right. Now, he back the and you

get to this mind and you see, and that's what he wants.

He He wants to transmit MEDO He said he's he seems a Churchill which

I think that nobody has been in that but there a photo very famous of Churchill

that came to he said we have to take a photo. He said I don't

I don't want to me take in photo he's he said he's

he said he's two minutes to come he's he's he he's

he let's say to say he he says to say the He rebutta the puro,

he's got caminand and pacatel. Take the photo. And there is where you have the photo of this man with a determination. How you tried you

try to try to get him the poor. It's a man that's a man who's a photo famous of Churchill

is the history that's the story of the photo. And after this photo he took a sonriente that no

has nothing to be. And Trump says that he wants that he that mirate

in the amor obviously. So, so what other error we have to evite? Look, the body

mustra how the mind. If you feel in the mind, if you

do you have insecurities, the body will show. You're going

to put barriers. In a pair when when function the

things well, the rapport is not in the movements

of the movements, the they are What other other thing

can do? There's a lot in the time, they're in a photo or in a reunion or they're with

the person that's put in the hands around of the genitales. Oh, that's, that is,

that's, I'm afraid. I'm afraid. I'm scared. The man... So, is sat down or

or parados. Or parados with the handitas with the and that that's... That's...

That's... That's... I'm talking already with a quater that He's in the news

and that's not there in any screen, nor a not you pass it too in the programs. And you know

you know what you do with the hands? But put them right in front is the

poor option. Mestra vulnerability. There are others that make the hands in the bolsas.

Tampocopo so. The hands in the bols is like that they're like they can't

like the people, not they're they're not to make the to put it

something. But to get the hand in the box is a bad. No, does a

confidence. Bill Gates, for example, has the custom of always the hands to get the

hands out of the bolsas. And he has been to give a president of Korea of South,

he left a hand in the bolsa and that was a grosseria for the culture in

Korea. If you you have been a one in a conference I remember

that I had a pantalon that I had a me, you know, you know,

you know, you know, you know, you're, you know, you're tap, because then you know,

the pancita, you know, what you know, what I'm, so I'm, and then I'm doing, and at the final,

someone, it's, like, that's, that's, I'm in a good, I'm, I'm

having problems with my barrigue, and the tally, but, you can't be, Lea, how this macho prepotentes

is here like a bocleros subiatings but it's very common tap us the insecurities

we're not we're we're old we're the blusa we're we're the back

the box the box they're saying there's that's a make sure a

sure you I'm I'm I'm gonna play padel and I always

take photos at the final the partido I'm my

I'm a back it's a padelero. So, like,

so I'm I'm going to do. I'm just in a photo with you. With me? I'm not.

I'm I'm not. I'm trying to put a sticker enormous there to tap the blusa arugated.

In in the social. In social. Oh, the differences cultural,

is, of this, of a language no verbal that in form inconsient I'm

doing something that in other culture can they can they can you know

when you know, of a repent, today, the Instagram and the Facebook, there's,

there's, with the colleagues international, then so, you know, a Mexican, to an Argentina,

or an, this, someone of a, a, Ecuadorian, there, there's,

there's, important to know the language no verbal, cultural. Look, for example,

the Arabes, they're to be very very close, and with much contact visual and to be

hard. The North American, his space vital, this burbuck in the

that nobody can't pass it's much more than than we're of not the not to talk and they

like to and if you pass you and if you pass you in the super and you don't you

say, and you excuse me excuse me so your space vital is so in

change in China you're in the in the metro and you're and they're

and you're also here too we're we we're we're

we're we're when we we're in the airport of the don't know, they're doing their tauts

and they're with the carlian and they're not in the same. You know, you know,

you know, the contacto visual, the contact visual in in the United they're saying that they

ignore them courtesmently. Uh-huh. So, not they're to be a time. I live in Texas,

a time, and I got to get to get to the restaurant and if you don't you see a

a woman or the saludes, they're they're they're they're And even

it's a, it's a it's a it's a a commas it's a good morning or good morning

or something or something like you like a man like any any other you're like

you're not you're not you're much careful with you get to all the Latino

hey hey good good days family in the in the in the in the

in the in the in the people we're we're we're and the

American is like so so so If you don't feel it's to feel

it's not verbal, there's a way to get for example, in Rome to say that's like

you know, you know, you're like, and you're like, so you're like, so you're

like? You're then. Yeah. Then, then Londres you put in the hand

like if were a disarmado and you do you like, so you're like,

so you're in Japan, in Japan, if you do you the dead indice in the

is that you're very intelligent. And if you let us for the back, it's like

you're like you have to have to have what you do you see, let's see,

yeah. And for example, in France this symbol in where is a

symbol in a thing like a okay. Yes, a okay for us that all

is a okay for us in France is zero. If you you say they're

saying, hey what's you do this sign, is zero. Zero, no's not so good. And for us, it's like, you're like,

it's very good. Now, in CERDEA, this is an orificio and it can present to a malinterpretation. Aha. Yeah, I'm I'm trying.

Now, for the cultures asiatical, signaled with the deado is something that's bad education. In Disney,

my son, he's going to say, oh, you, no, mal education. He was, he was

have in Disney, and they're clearly. If someone you're where's the banion, prohibit

to say with you know, you're to do you're to do you know, they're doing the thing.

There's there's the language no-verbal cultural. The Argentinus when they're

like, hey, che, no, like, what's, what's what tontary are so much

those superiors, put the little bit of the barbill, so, well, is that you talk to

It's not It's very difficult. And not it doesn't It's a hard to It's a

little to say I'm in Denmark those countries like those countries like Nordic The hands are not those

we're doing our hands So if if you want to someone and you want to be

and you make those those those those who study the endow

they're saying that is very difficult to mean and use

the so that I'm that I don't I'm I'm I mean,

it's a rare. Let me say, let's a pause. When we're going to let's hear you know that's how detectar, if it's

not verbal, if someone is being infield. If someone is there mancornaid, putting those caches, as the

callos, we'll be back, we're going to get back. You've done that you're doing more

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Continuamos with Barbara Tigerina, expert in language no-verbal. One of the great preoccupations when one one is in relation to a pair, or I don't know if they're a great preoccupation, but it's like a detail

important to know. is, is, me is feeling or not me is being able, what delata

a person infiel, the language no verbal. Vengah, and here there's a bit more

you know, the rating. First, I'm going to protect. No, there's a signal

with that that someone could say 100, this is a not a but there

there are various indicators that are socied on the

tension, nervousism, no, no there's a not a important pinotcho.

So, you know, so there's, you know, not that's a lot of the thing you're saying, oh, they're

mitting. So, so it's, it's, a point, but well, a bit, Mark,

for example, the polygraphs yeah no are 100 valid, so, because there just,

there's, I'm just to put a point a polygraph to, these are these are

the appartes, to detects the amount to the frequency cardiac, and you need to

more oxygen, and so is associate a a a I'm a but also

it's a right to be a point you and a lot of I'm

not I'm saying not I'm to make the error of Othello Othello he said

that's his sposa Desdemona he's he's and then he's gonna

and he says I'm gonna to let's because me start being

infiel with him and she's and she oh yeah you

cached. And no, it's, he put to you know, because it's going to get a nervous, because they're to get in the error of the

hotel. I'm going to protect here. I'm still trying. No, there's no definitive. But what signals?

What's that's, if you're asking? Where did you know, you're going to let's get

the question. You know, in where was there? To be there? To be there? You need to time to create

a story parallel. To what What do you refer to you? You're referring to You're? Ayer? Ayer?

Where was yesterday? Ayer. Ayer. Ayer. And yeah. In the morning or in the night. Oxygeno.

Tieno. Now, many say that will to disviar the mirada, but the most frequent and what

have seen the interrogators is that when someone he's going to be going to

and it to parpade less because he wants if in Cesto. If you if you

it's you're okay I'm not going to not so they're in hotels

not so they're so they're or tel so they're so they're so so it's

so that and not they're in neurolinguistic that if if you look

to be up the right and up the right or that's you're

you're you're you're but that but that but that's the

but that scientifically what you have to have to have to have to have

to have to of the person. I would have to you have to you have to

you know, I'm going to do you do you see in your year you're to look at where you're

generally. Generally we'll we'll turn to the because in our brain this is the past,

this is the present. Or something or something if I don't know, when you're when you're

seven years when you're when you're you're in and you look you and then you look you

there's your right right and that's a marion and if me says oh yeah

imagine I don't know so that's where you you know, it's the you know, and then

that's the right, so I'm to the other you know, I'm so I'm to do you

to Lume and if me I'm so you can't with the eyes like that

you can be creating a story a a or recording with who you're

there. There's there there's there's there the time the time

the little those people are very like, no. That's like of Charles Chaplin, no?

Yeah. No. The poor trai carri and you thinking that's infiel and the other is mucco.

It's moccoso. It's mocoso, exactly. The children are very honest. The children when those catched,

what is the first that do you? The top in the boquita. The car. The car. When you

when you're stressed when you're so you're that's stressed that that's that's a

common in this area. So, so it's normal the now.

Now, not say he took the nose, it's a no.

No. But he took the nose. She kept with the

plate. Repitio the question. The hands are tensed

tens of a chupeton in the Cuey Oh, no, well

that's elephant whewle elephant he's elephant. It's an elephant. So,

so are various signals, no can clavars with

a No, have to learn all the... There's to learn all the... There's a person who's

professional of the that's really that's there's there's there's that's

that's that's saying, you're saying, you're going to not to get the car and they're

to get a lot of a stod, nothing of that's. I've had a other

many years, I've asked, there's there, there are actors and actresses and

there's there's a different manner, and she she's a novel,

a movie, a woman, I'm a a ex-exapose to do you know, I'm gonna

really, I'm gonna like, you know, like you're in a play, in a theater,

you know, you know, but in the noveles is so, but in the noveles is you're,

I'm gonna, okay, right, I'm, right, he's, in what time? I'm,

I'm, I'm, I'm, I'm, I'm, I'm, three seconds, five seconds,

six seconds, yeah, and I, respirer, and, of a laugh, I said, a little,

a little and I'm in the right, and I'm going to a little light, and said, and say,

yeah, that's a fear, what I'm sorry, to be your know, so imagineate, there's a

person, a person, a super professional, so I said, how did you, like, it's a thing a thing

a physical that's your and I'm doing, I'm, I'm doing, there, there's a

person there's there, there can't, that can control his car, his

body, the language, the tone of voice. Paul Aikman, when studied a

mentira, what he was that put a a infirmaries, for example, and they

had a lot of those images spantosas and it had to describe

to the patient, but to be a flower, oh, here there a lot,

there's a there's a there's a there a man a baratado, and he

had to mean, and then he everything was all to say, here there's another flower

with a little, but really was having an image terrible. The psychopaths, even they're

an image terrible, a manoe suffering, no, there's empathy. So, the neurons

are the are the are the other. For that when the in front bosteza,

it's very easy that you get to get a, or when the end the end of

a lot, a less that's a psychopath. A minus that a psychopath.

Or a narcissist. We'll come to Trump. No they're empathy.

That's that's that's that's someone, that's I'm saying,

I'm a show, there, but we're going to talk to me. The narcissist

no has empathy. And the narcissista is territorial. It's we came

the other day, you and the image of Melania Trump, and where put the two hands over the screener.

Abirtas. That is the the comportment of a narcissist. I don't say, I'm a

person, but we know we're people, there's people, the bully of the office that

put his foot on your on your your is like what you do you

perteneene your your coche and put the foot the on the defense

is a territoriality and it's like your coce me perteneene like your

story my is you Well, we'll even when you You know, even when you're in a car

straight and you're another person, I'm moving my body to not and there's a and I'm getting and I'm thinking wow,

what's grosser if I would if I would have done it's we'd have been chocked. So, our time is doing

the Primal and the Nobel of the one's different, one more elaborated, the logic, the rational. If you

you're going to decide what you're going to study now, surely you're going to start the system two. What study are? Neurociences,

that me will serve more. The system one is rapid because the brain no has done time to analyze all with a lot of

the can't do you. You see, you know, you're going to say, hey, I'm going to ask,

what are your things are that's a question, this quater is a this quater is a problem

for me, me quito. So, so we do the juicions. And so, for so it's so important also the appearance. When

they say, oh, I, I, I don't judge. Sure, that you know, we're all the time. And just, just to be a person, what

you can't say, just be it? Her life? Uh, his health, uh, and he was, so,

he was, he was, now, when someone is a regal to go to go to see to

get to someone bestido, depend your interlocutor, depending the occasion. So this of the language

no verbal is... In the citet, moving to the thing, in the cell, in the

coffee-sito, in the theater, where you but you know, there's a way a way

correct for all of it's like a stre, a matter. But when someone comes out of

you know, I know, when you're you're saying when you're disarriglating to the site,

it's like like if like to get to get to it's like you they're

saying, oh, they're saying no me you know, I'm just there a deception, because of the

morned, you're all you're you're and you're and you're and you're and you

perfumas and you're and get the person disarringlated and you don't me important.

No me important. When I was a arregladita and all the interesting is to

maintain that's in the time. Maintener in the time. Fiatte my

my papa for for example for for Navita he put a

car and no there but the to maintain that attention in the love

also. It's beautiful. It's I mean you're saying, me importas or no you know

you're saying how it's it's a empathy in the vestuary. And I'm going to the image political but also.

For example the President Obama he walked to be a time, and there was a bitormo

impeccable you know Italian, I don't I'm trying. President Obama without saco,

arremangado, not going to not even a one of the but he's saying me important, the apparent

with the appearance you're going to connectas. Sure. And also with the appearance you're trying

to say something. I go, I do you do you do this I'm 25, 27 years

and I was starting to work in television national I bestia to be more adult

and more more credible. Now, that I have 55, me a tennis to not to be so for not ever

different of the thing, you know, you're trying, you're trying, you're trying, you're trying to , you're

trying to I'm, I'm sure, is that Mark Antonio, is a chavo, and me

and he says, my mom, chavo, you, how's name your son, how's your name,

his name, how's how she , let your mom, he says, how he says,

Guillermo Delo he said very very well. What does? He goes to do a publicity

is that I'm a guy, I'm going to get a vestido of jeans and of a commisette

and they're to know what's important is the appearance in your job and all they're

not so I'm not so I'm I'm going to get to the show,

but when I do you when I'm when I define a person if I do you

a long is a language if it is other language

if If I seeer the scotte is a language. If it's over, it's another. And all of that's you can use deliberately. And with the pair is very special.

For your presence. And, you know, see, that Amy Cody, that is a specialist in language no-verbal, that has a TED Talk that has more than 70,

millions of vistas. She has been the importance of the presence. But not the presence physical, so, that's

the way, the presence of being being present. And I I think that that is fundamental in the work, in the love.

The being present, the being the 100% with your eyes, with your attention, listening, without just

I think is the best you know that you can bring to a, a, a relation of a

your presence in that in that to be, being, to be to be to use

or to do the most possible. That is the me a regalo more beautiful.

Because, is the real real. With who you know, with someone that's a person who's

someone who person who's not verbal you're saying, you're saying, you're important for me. Susan Sarandon

subio an interview on Instagram and they they're asking, but for what you want to

you want to you're a person? And it's because we need a testigo of our

life. Wow. Me Encant what? What powerful? A testigo

someone that's a, but a testigo present. Sure, supponying

that's putting attention. Suppon. The bulte there's, the bulte there, and that's, I don't

remember who said, one of our students in one of our students in one of our courses in

in live in line, I said, no, there's a thing that to be to be a

only, or only. The soled accompanied is the poor. The soled the soul

is a whole is to do that. Yes, but the soled but the soled

accompanied disconectart that's also that's also many many people do you use like to

I'm going to ignore Ah, yeah the law yeah you know and I'm

saying with all my attitudes that no me importas and here I'm

now in the part of the family I'm really a phrase of Dalie

that that I'm that I'm to to get to get to

get to you I'm I'm say you I do

to that you emotion, you're going to to put attention, you know, learn the emotions in the people. That's what

is what's the in the language no-verbal. Exactly. No, it's not the thought. But it's

in the emotions. And when you know the emotion in the other, you can't better. Sure,

100 I agree with one of the discrepancies more that I have with the people,

the orators, now, I think that's used much, but there , there,

there, there classes of oratoria. And I remember with one of the conseils that were up

the way up to the head up the and I'm that's justupy is so big so much imagineate the

encuerated for a say. Yeah, and I'm also when I do a conference or

something, I don't like that the light is very dark, if it's in my

possibilities, because at a very sometimes is a event and produced and you have certain

language, so it's all but I'm a little light because I mean

me to look to the people. and is according the people that I'm doing and his

reactions and I'm moving in the scenario and I'm a four or five people and I'm going to

and I'm going the reactions and so I'm if I'm bad, if I'm doing, if it's going to be doing what I'm

so that that's the language. And for me that's when me it's when I'm to give a

question of a public and connecta with the but in the oratoria you don't be

to the people, be the head up to the heads. And I, with all respect,

I'm in a bit of a lot of no, there's not a kind of to know,

but I'm doing the idea of the emotion of Moebius, that is, is that how important

is the sonrisa and the that someone mustre asco. There's a mal that's called

the mal that's like the mal that's like a paralysis a child. And I I just I'm just

I'm thinking a person that no a person that no a joy, nor a or a and that's

to get you to the and you get to the and the car, he did to this

nine, I think 36 operations. Ah, it's a condition. It's a

condition mal of Moebius. And they did syurgias and when said the

father, what would you'd for the sonrisa of your

little and if you don't you know you would be you're in you're

you're for express if you're because we're not there's normal it's a then it's

a general so you when we we're when the part of when you know

when you know the other there I'm in the pandemic I'm

a chava to a child that's not having many

problems with the but I don't about of that

with that And we're seeing how it was the joy, how it was the

fear of the and it's a lot of and I'm he said, oh, is that, I'm

that I'm that I'm change the thing of the thing that we're I'm to understand

what has my spouse? What has? He says, I'm he's been nojado all the time

but after the expression facial, I saw the other day, and I

did, to you do you have to get so the communication. And it's

opened the communication. I was he was he was he had encountered the channel in

where he had to he could talk about all the fear that he had.

So, the emotions have two functions. One is communicative we want,

we're we're getting the person, he's interesting, he's interesting, he's feeling,

is, he's happy, is, the person, the communicative, the elemental. But the other is

adaptative. A nobody he doesn't to start Tristan. But the Tristessa produces in the

body that can be the energy and that you know how to confront a perid. The enojo

says, you know, but the enojoojo you do with that that force vital to

put a limit. The asco to avoid something that could contaminate. So,

the emotions are good. And there have to read them. And when those

you can connecter better. So the emotions is express not only with words they express on every mind,

with every contact, with the respiration with the respiration with the respiration. With the respiration you know, the psychologists

look at the pancita not for to see has not to be able to how you're you're going

how you're if the respirations is of abdomen or is the diaphragm the amor is expressing

putting attention Oh, the The love of the Mirate, the momas that are

who are in the people, let's see they're or they're to be in me. The

mirada of the when you they're that you when you see the that's the

first and you and it I'm going to get to you, but not you're

to you're going to you're the the moma? Sure. You're

you're that that miras of your mom? For supposed. It's

indescriptible the connection And when yeah had Alzheimer advanced and yeah no yeah no

there no no over there's more powerful because it was the only the music and the music and

the was the only that was really that the relationship of her the other yeah

it was it was there's but you didn't you know you know you're going

to do you know when you you're you know you're of that you're

to get to get to get to you're no no No, no, no, no, I don't do you want to do.

No, no, I don't know. But it's a book. It's not, because, because I'm also I remember I much of the eyes of my mom. When I went to New York for a course of ballet, we're 15, like, how was it, chorus line? And, nothing more, they were to do three becas.

And I'm so I'm akees. And the first is bolted, and me I remember of the brillo of those eyes. I remember that the triumph The true triumph was the mirro of my mom of felicity

not the triumphs but the moment of it, or it did you The connection The connection And the connection And it was

And the Quixote Ficate I said Tantit And so much They're They're

a Carta with a messenger And he says For favor When you

when you The Carta Dime if the Pelo Dime

if he's Algebra. Dime if they put in the chaps rojas.

Because only you're going to know the secretes of your love. And so

for many years. The language no verbal and the study of the language no verbal

not. But every now it's in Harvard and in all the universities

of the importance of the importance of the language. And something

of the more that I learned in my life is to to be

to be able to a other person in silence of the way to see, of the other person

to the eyes in silence. Cosa that at the first when I started

was ridiculous, incomodod, my body was said, because we did it because

to do it and do it during years like a time, I'm I'm

to year to look at the eyes to someone that I

didn't I, the connection that can't be with other human

that you can't know you know this is profound now. Now imagine with someone

to someone with your wife, with your wife, with your mother, you know, you know,

it's a lot of things. It's not another thing. Imagineate that the power no mir.

The power no mirro. They're they're that connection human. But,

but not they're not being that that's looking that people. See,

you're looking to look a mind. See, me to me.

See, yeah, but I don't you. Admire me. And the and the is that there

is that you see a type of leaders. There's to ask us for you. A you not you

would be a person that's not to be. No, that me too. I think.

I think the majority of the people that's the person not we're not we don't

we're not us see, we'd inspire you to follow and vote for that person I think.

And I know, and me do that the people see the I don't I don't

I'm I don't Voltean to see? And what will what will that will that will be

that? In the people, in the politics, what are? Manipulation? Yes, but...

Well, Well, Hitler, how much people? Or what? Or what what?

It's not to you to see to someone that you see a see a look to?

It's a admiration. Admiration equivocated? There's a director of orchestra that's

called Benjamin Sandler. And he is director of orchestra and he entered in a crisis to his

45 years he was not he said I'm a so you're I'm a I'm going to the postages

of the discos so and but I do not emit any one only a only a single

he's a total he kept in the night all the night and thinking until he came

he came to he came to the house to the position to Coucharita because

if if she they were and he he said, you know, what happened?

What happened? The way how I direct the orchestra, depending that they bring the

eyes to the music. If I do it, the music not will the magic of when

I'm a question. So, it's important what you transmit, is all what you

can transmit with the movements, with the the That is a great example, a director of orchestra.

Because more than the moment in that when they're in the violins or the cello, the percussion, and it's, more than to do the moment,

the cues, you know, the emotion, and what that is the director is transmitting, and it's a even to be in-

back to the public that's... And he has to happen to before, that the pianist started to a piece,

and the pianist not had the not the notes of that. And then, I don't I'm not I'm trying.

He says, you know, you know, you know, you're going to do you're going. It's the leader,

clear. The leader. Oh, yeah, only for doing this, when we're saying those

are the Americanes blackos. Because the Staudinenses are very certain. The Statenes

Latinos are very certain and the Afro-American those are super so super so much

because it's very interesting to see within the same country

to see circles completely different in their language in the form in the form

in the way in they're in the black caucasical. And in general,

because there are others that are very very, there are there

people there that evade to the other people that

disconnected that and they like that they're in circles

latinos or Afro in things things interesting to

observe Barbara to ask you to have asked that you want to what we're or not you do it's

or not it's or not, or how to learn in your your pair of if the things are

bad, some advice that you give us give us. Nothing more, that's

they're in their presence, in being presentes and that they're, and they

they're not, because a sometimes they're saying, is that I'm much and you say,

there's that there is that there's that no. Yeah. Because you the posture,

things that you're that's captable that's you're not the you're, I'm sure, the time, you're not, you're trying,

There you, Towers, of a repent. Of a Repend. And your books? And the two

books, Languages and Plagheras and the power of language without. Thank you.

Many, many, thanks, there are two episodes. There are two episodes. If you

did this episode, there's two episodes that I can recommend of the podcast that's

things about those. We're one that's secretes on a expert in citas to find

the more with Marien Ferre, that's and another of our great- dearidid

Nilda Chary that that's called How How Construes Relations Sanas. Here in the page, if you're going to be it,

you're going to see it, you see it's going with this same theme. And if you're in any of the platforms of podcast,

you can't use those just to use, with that time. Thank you, thank you, thank you,

this information. You're got the episode. Chikas, Chikas, we give us a applause,

Barbara, Tigerina. She's the supermerese. Thank you. Thank you, thank you, thank you,

Mark, Antonio, Regil, me You can find, as as Mark Antonio, here in all the social,

if you like the episode, share it, copy to the lia, pegala, and subscribe to the channel

on YouTube or the channel to platform of podcast. That's, that does help us much for

that we keep us. We'll we'll we'll we're our next time.

Alcancas your maximum potential. Thanks I'm sorry.