HABLEMOS DE LO QUE NO EXISTE - EP018 EL TEATRO DEL MIEDO

Episode Date: July 22, 2022

EP018 EL TEATRO DEL MIEDO - ft BERNARDO DE LA ROSA¿HAS ESCUCHADO HABLAR DE LAS CANALIZACIONES?¿SABES LO QUE SON LAS CAJITAS?¿CONOCES LAS EXPERIENCIAS PARANORMALES QUE VIVIERON?MARIO CASTAÑEDAHECTOR SUARESPAULETTEHoy en HABLEMOS DE LO QUE NO EXISTE, tendremos de invitado al actor y maestro Bernardo de la Rosa, que nos compartirá una historia familiar sobrenatural, que ha ocurrido desde hace algunas generaciones dentro de su familia.

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The theater of the MEDEO. Bevenia Family Nocturna. We're a once here in the podcast to let us let's do what we're here in the

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If you're on Spotify, and then you're I'm saying that do you because I'm that's all the episode

and you not we're see. One once said this, we're going we're

doing this thank you how you're doing good very a good

a pleasure I said before to enter that I am a fan

of the podcast and the fact that this this this is my

first my first my first participation and well for supposed

with someone that I appreciate so that I

we, we, we'll in some moment, aula, I, like you,

as a teacher, no, I'm used to get a master, and you as a

student or and that then, and that then the time, to participate in something in something,

in something, in something, you know, in a little you, it's a , it's a,

it's a good, it's a privilege, and, for the opportunity, and,

it was to give to the opportunity, for your words. No, And and

And taking in count the mystica of this podcast I have to question to Bernardo me said

you're not you're right? Yes What do you do you do? So,

to be sure. I'm saying I'm talking you're a story. Okay, okay. This

story me that's about Sarahie a few days and it's a story inconclusive Sarahy

me says that has many years when was very little, that no

recall exactly the age that I had a time, she was she was a question,

she was she was she was she was about, I'm sure, I'm sure, I'm sure

things, I'm sure things in the night. The papas took cards in the

thing, instantaneously, no, they were not, they were with a psychologist,

and they they were with a child, they were they're they're imagination of the

but the the new but the thing was she saw that I saw that they were in the

people the people the people were the authorities medics decided

to get to get people people that people that could

give that could give a kind of response and solution to this situation

there there was one that the problem was the the

problem was the that that the don that was incontrolable that recommendable

that blockiaring the don't at all the cost because the time the time the things not going

going to go going to bring many things bad as his life did they're

many things that he recommended this person and Sarahie me said that

that that's that he's done to do do one day

for other not not not She was her and her was normal. Until

a couple of years, all of but a person that's a little and the

death of this person she she's she's a cause for something. Something

that is a man but that's perfectly that is human a

a sombra of a man but says that she not in the

surrisa maldd much mald that says like if

really not, not were to be to be it's like if you had a sentiment of odio that he wants to opacar with the smile, he's like to amoflars. I'm not here. I don't want to be

present, but me see. I knowed in the passages that when I'm I'm going to hear he and he's just

so onrying. And the most horrible is that I've yet have been to get to be to see how

I'm trying to see the rest of your expression but no I can't penetra his

mirab is a much it's a not a no I'm in the

she's she she was with a roomies some some the

family the the he went to the so that

one that one he decided to open and

and being in a piste a in a

in a con a conviv and they they they're

that situation and then not a air of silence and the car of all of those extra-drawn. And she assombed, she gets a little inquiet and they're what's what they say? They say, is that

all we've seen. All in this house we've been puted in some moment and, and after some days I talked with Mary, Mary, I talked with Oscar, and we just got to

enter, and as you felt about you if you had been passed. One of the had seen in the bathroom, the other he had seen from the other was seen as

the other one we've seen. We're not, we're just a little bit a person malvada. There's the

there. I think it then the problem was the house, yeah that all they were doing

in different points and decided to move to there. There's things were.

When came to the new house, it's to occur that that's

that the side of the house a mewled, it was a sofa that no had a form to move to

another side. There was more more points in the house where he put it. No,

he was part of the decoration. A part of the day, she gets to have

terror nocturns, paralysis of the time, and the moment in that's

paralyzed in the camera, between the sun and the vigil see that the

man came to the cellon and he's he's observing

with her she she every is more aterrata because

he says that now the man not a kind of being able to be able to be

and he not he doesn't hear something that he says that his

words are like a thing that he's he's he's he's

he he's he got he was a one

one he he he he's he he's a

car This was So, it was a very little Sarahy said that he started

to rest to be to get to get to get to the same he's paris of the

time, it and he's down the knee to the right the right the man,

and she not are in paralysis of the she she can move but the

man she can't move but the he's try to get to get a

man he's a He says that the sensation has to the day of day and night and he's a sensation that's a horrible

is like if I'm going to get to be me. He's up finally, gore to and go ahead.

And where it's the light, and where it is what I told a few a few times and in this

moment I hope that's so I'm so situation. But up this story.

Bernardo, what history you're going to tell us to me. I have a story that has been a family

from the family from from always but well this but let me

tell me tell me my family is originary of San Pedro of the colonies Coahuila

no I've been in a family very humble no this they're

they're they're they a situation of scarcity in in Kauwila and

when they they're here my my mother with all his

my wife two two matrimon one with Louis

the name Louis the man who was a young of 25

years victim of tuberculosis and and still still

being in San Pedro of the colonies Coahuila, she in the same, in the same community, he knows a other

man that's called Juvencio, Cuba. With him, he has the rest of his his kids, no,

are seven in total. The first matrimonio is Ernesto, that is the major, Concepion,

that is my mother, that in peace, that's can't and the rest, is where

the descendency of Cuba, the rest of the of the kids that summed seven in total are of this second matrimonio. So, they're

they're from Coahuila, they're installed in what was the, well, the old the

country of the independentsia, an area very precarious with Tejabanes, no, houses,

and some more than others, And, well, what What the way is that, standing yeah living here in Monterrey,

in the Barrio of the Independence, in the Tejaban, that, and the weather,

and the whatever inclemency of the time, so it had to be to be the

time, in a in a one of one of one of the most little,

was 12 and 12, 12 and 12. I had days to see. Peculiar to say that I'm four,

five, no. Toce and toce, toce and toce, no. So, then I had many

days and in one night, the other, the most most great, so they were the mother,

that there, let me, let's get the, Tos, has days to be doing so,

I mean, so, put a something, do you know. So, it was

a time that's that's all, they were all recogient in the

colony to go to get to and in that the mother,

my old, my Marmila, Mila he said, no, Mila.

This, is, he's, reganing to Carlos, then he's

reaganing that why not she does to that's to do that mohands

in the way that because he's eating palettes salas

without care that we're that he said that in that

he's so that the and he the product this of Vips

or Vicks no I'm what he he he he

is so so on in the beech, in the back

and in this moment to the abel he changed the voice.

For this you have to know that the was a particular particular

was a little was a cahita these people that are the

faculty to receive as spirit almas entes that

then tend to communicate to someone else. So, the

old has this particularity from a little live his life in that

way, is then it then then it's adulted has a certain

dominion about that but for the case is that when she is that

she doing this and he was doing this for that

Carlos he aminore his all his malestard to the

little to get to get the voice and she

essentially to be the autentical Bernardo of the Rosa that was

his papa is in this my mother Maria Concepion

she percata that that the voice of the woman has

changed the manner in that was she was she

had has said, she she so she physically

and essentially changed and he said, is you a father? Because the

abel Bernard he said Papa, amending that they had a his father

that was Juvencio, no, not the father of my mom but the

father of the rest of the other of the they said

father. So, then he he that's from a

place very very very can't that came coming

in a line right with with with the and

that comes from very very very very very

very very very very very so the area

the the tjabanes is a divide it a area

common in a all that all had a great an

great a master of profession costurero of profession

had a little a little so so so

to be talking with this for when they

they know that the little he is he

is changing the voice when all all they

all they China, that is this, the mother of a

young, a adolescent, she, she, he, he, she tap,

so it tap, so so, so, he does know, how they started,

he's been to be to be to talk to all, a, China, no,

no, no, no, no, he's really really assusted, no?

So, she, Bernard, he's, he, he's he's, he's,

he's in, he's, in his tahrer, Bernardo, he says, get me with Joveencio,

I want to say, so, then mom, he, a little, to his man,

he, he says, that, he said, he, he, he, he,

he, how separated the abuela. Separed how separated Bernard of the

Rosa. So, so they they're they're they're they're they're

they're they're they're they're they're they're getting to do

that's so so so it when he when he says

to that's there there a voice Juvencio for

supposed that he had And he's perfect that the wula is in a trance. So, then they're to talk.

And he asked Bernardo because he fumable much. The wuela fumed also. A Cuba,

no, he was to that the wella was not so, Bernard, he says,

he has a bachita of a cigar. That if has a bitchita because he has got to get a cigar

So Juvencio he said Well, go and look there in the recovecos of your mom or the

ermila busk in her in the closet where she doble her

doubleed her well well yeah mom and he was he said

no, you know, you know know, you know he said Papa, this

no how was Juvencio and how how, how,

how, the business, and what is the sense, there's the

sense, he's a part of a person, but through

the body of my mother. So, total, they're there

a two minutes, I said, my China, that

had a two two minutes and a part of

a well, well, I'm going. I have to have to have been to be a lot of the terrain

is too I'm pedd to come to come to go and this I'm to go. I'm

made much to see them, they have to know that I'm very so I'm

that I'm that I can't visit to other again. So imagine that that

that I'm going to come to come another that is very cabron

So, no. So, then the mother, the was a woman was

of the was of the real, it was a man, not had no, that was a palida.

Pallida. So, this, there's, there, there's, some seconds in

those that she has, every time, all the time, took the eyes

the her own, no, he's his eyes. No. Yeah.

Yeah. And, no, no, he was not, no, she was

she, not, she, I was a episode, but all, you,

what, they were, they're, no. Then, then, this, he,

He also in Mama China that when they were to the yeah with the little

Fidencio in the in the spinazzo in the spinazzo in the uh

uh... a Cuba he was a lot in the that they'd come around

he'd much the kitchen in special to a a new a new

a no I know that was but he was much

to go for there. Why? Because I wanted to eat there. So, when they were

to go to a, a, to passia, no, I said Cuba, that's, then he had been

had said something, and my abel, and my old were, and my old were,

because, because eventually he was in a, someone or something, and she had come

to, to sanar the the people, the people, no, for me it was like a medium

no, my abuela, not, canalizable like they like, like

a so, so then then. So, this was more recent,

my brother, you know, you know, about when they're saying, explain

me a for four. The mal of the thing in

some place with a person in special, this,

you can't the tension. So, you're doing a ojo. Okay. For so

so, it's like a tension in special that someone has over someone and in

that sense this idea, this, this idea of, ah, is that you're

that's you're transmitting, the the intentions, the excess

of attention, the energy. All that a hour of that, that's this

Ditcho So, so when when you're so on you're in a joe you know

a little the head too maybe can't be this, you know

you feel of energy a lack of a lack of all of

all so so so so it's and for

that they barren with with with the then

then then the then the pardon the hebrer

and the minutes, supposedly that if you try's a ojo,

then you know, all this type of things. It's it's like,

you know, you're you're like, you're a product of the same composition

chemical of the other. Okay. So, so, so, my,

because he said, me barred, well, yeah, si, sitate, you,

go, and, then, so, then, so, so, when you

they barren, then, there, they're there's, there's he said, Luis, that was

a bit of process, and a wuela, he's to change the voice. And in that

moment, he said, what I'm I'm better. Yeah, yeah. I'm sure.

Yeah, yeah. Yeah, yeah. And there did. At the day the next Louis, my

brother, I, I'm only my brother, Louis, the, the,

the, the, the, I'm a pass and a brazo. This, the day

the next I'm saying, you know, you know, I said, you know, I said,

and I said, no, I'm saying, no, yeah, bye. When he changed the voice in the case of

your your man, the voice, the of the woman, or simply was your

boy, about your different? It was a form, you know, he said, he said,

he said, he said, he, he said, but no me supposed to say, if,

if he had heard a voice baronil or a woman

feminine different to the of my old. Yeah. So, so it

was like, okay. A me, in various occasions also, me barri- this,

and all this, because she was, of, of those congettur. And I

want to barred because it's a make you know, and I'm me, I'd ratherjava.

Sure. No. And, and is, it's curious that's, that type of,

possibilities at the moment of feeling you that eradicate in something on a little medical. Yes. Yes, I'm sure

that he can't have an explanation but also there are cases that are strange. And there

the things are a difficult to get or to get it. Yes, if you

say, it's not true, that's not true. But I know, I think,

I think that all is your creed in spiritual. I am a Catholic. Catholic. Not practicant or I don't know how to mention it. No practicant because I'm sincerely I don't go to

all the same to the miso. But I'm going to my faith. I'm creelient. I think that there is a special, a God. And in the recargo, many

of my uncertainties, the faith for me is something is fundamental in the people,

more in times of so chaotic as we're like we're being, but if I

am I am a me to have a faith so, so I'm so I'm a Catholic

a Catholic. There's a chica, a YouTuber that is Paola of the Castillo.

She has a channel that she has a extraordinary and there's and there a podcast.

She has that she about the things about normales. And she she was a

adolescent or passing of the adolescence, her mano he starts to comment that

there's a woman that's there's there where they are there that can

do you They can make that's that's out of the person and things of

this type and things medias esotericic and then she says we're

we're doing we're we're we're not we're a group of

people and they're and the she got to the

group of people and let's sitens in the soil and

and he he says you you sit with you you can't

you don't don't understand because the distinction but

no they were a more importance she's to her to give

a certain type of orations and things in the things in the question.

Paola said that for her was about and it was a point of the tedio

that was that it was that I wanted to get. But of the

hermone he started to be like if he had disencajated the person to

When it's about to open the eyes The sir says, No, they're going to open the eyes No, no matter what they're going to be. And still listening to the brother, that he starts to change the voice. And the voice is he's talking rarer. And he begins to say

things every more difficult to understand. Yeah, there's a moment in the way that the desperation to get a little bit of the chica, abre the eyes and he's a little bit of the eyes aberts and they're looking to see

going to look at the other the woman starts a type of

rito and the brother and the person and then they're so that

he's normal and then then then I say to all except to

Paola and the person and he he said you went you

went recently and the child he said he said he

said three days he a a a a

a me was a form inesperate and I went to the belorri, we went to accompany to the cemetery. So, my, is the that you're trying to. All right. No. Movedo. Oh. He moved to manner.

That he wanted to be able. And he said that he had had to have his cycle, that not was a manner. And that you're, he was impeding to live. And then, then, let's pire that will want to go. But,

with the novia of the chico, with all those who have been assisted like the cemetery, then they're the chico, the novi, and Paola. And standing there, he

asked a novi, he says, you have notated many changes in the, in the last four,

five days since the last to the cemetery. That's if were another person, like very,

very irritable, very molesta with other way to think, and the chabos

and said, I, I'm, right, I'm something, I'm, I'm,

I'm a little, I'm a Sobnolient. Yeah. And then the sir And then the

general that's a lot of levy to these entities. And so in your case, you're like a farol for the mosquitoes. And so, you're just a great lus. You're, you're not a great lus. You're not to tryer. I'm not to be able to work. I'm not in things of that type and paula he entered the the media and he's gonna me what I'm gonna pass and he's not you no to pass nothing to you're gonna be

a new energy very different to and your to your man no not to pursue but but your but your man no do you just to say that's because if it's going to be in a place you can be attacked in

some moment for something exactly and this question of the talking about by the middle of a spirit but I'm I'm that some of them call an canalization but there are many

types of canalsation or entities that canalize, no-seh, to that's the de-a-one-one-o-otra. But there's a second story that you remember, that's called Pau. And the people that me's listening to, tell me, of what group is? A can't a mystery that is Pau-Pauts,

something. This muchacha has a channel in the that's a channel in the casein of, these situations of assassino, serial, scrimenes, and they're all the situations of situations of this type. But there was a time in the

he was a a dematic paranormal. And of a way of a deto and he said that he didn't go

going to do not a lot of the people. The people not said. Supponia that they

had more at the number of the other videos. But they started to more insistence

until that one day decided to open to the thing. And he said,

no, it's that is that occurred a event. We did we're we're

we're is a woman that three or six millions of of the second one of a reunion was a reunion grand us us didn't

a lot of those those redals I wanted to I wanted to that the people did a good faith and put

us a detail and into all the those of the redos and from the moment in that I

saw me it was I'm made because it were many they were those that people

really really not not has really not But that caja Roja Yeah, but that caja

call me a question. The unpack, the proportions of the caja? She's good

question. She said that it's nothing something. It was like that's a thing that'sperta

something. It was a thing. When they were a quarter, they're the And she had one and other

other time is going to see, no me just a don't me let's be able to have done.

When they were the cage, the cage was a no, I had a a caja totally

vacy. But the two started to fear. Much fear. Inexplicable

without sense and they started like a feel like a frio was going

to get to the person and they started to be strange to the point in which she

He said a lot of A man who says to start He said, probably maybe it's brujeria or something to be a lot of it. I'm going to be a lot of Or something to be aftarcage. He said, for casualties or for deosidsties, a few of course He said with his noviour, that's the who is the who is the He's the who is the guy who is doing. He says what to do And decide to get all the

things there. So, so, meanwhile they're going going to some of the door,

they're doing certain type of resos, and she starts where she's going more, but he's

that the moment the nobio is detien, yeah no can't talk, and he gets

the tiaso, without being so much, and then then while he starts the voices, and they're

doing a purposes totally distinct as to get a moment in the he's he's a rigid and

he's a great to get a and she he's pega with him and he he said the he had

said the he said he's saying the restos he says that it takes that he's

around around of 15 and he'll get to get to in the after

after that after the sacerd exorcist for that he did

a exorcism and some way had been that I'm like intented for what contained that

cajave and she said that she said that never more would ever to talk them as

because of some way someone had been had made to some there to the

the canalisations there are that there in the case of your

old is the yeah that servian for sanar to

care to a faculty of to damage, but

even even even she had a one a a

a a wheped to or what who was

to be to be it was a something

that not had a control in special but

never that's, that's, that there's a family that she

had suffered the position of a person of a person or that has affected to her

to her to those levels, those limits, too. No,

no. All was, all, it was, very, very, very, very,

but also, when, when my mother, when my mom, mom,

this, Enferma in the 2012 and that the postre, well, I'm in 2012, as I'm

talking about out of the air, I'm of tuberculosis. I'm under treatment and

I, for obietad not could present me to a a, a cell of an

emergency, a therapy intensive. Why? Because I had a a virus with me

that could propagate in the place or or even my defenses not were the same

those are the way to go to a place and that a a bacteria or something me

attack because I don't have a system immune I was I was I was

totally indefinso no so what I what I was the what I was the way

in the way that I was that I had used to the family in

this process was to then there There were noches in which the quarter to because that is

another, the tuberculosis is that is like the effect COVID of the day. If you do you have to you have to

isolate. So, in that moment, nobody entered to my court and if

I was out of my car, it was with a series of a series of prevention.

In the nights she said when mom was interna'd in emergencies in therapy intensive she said that me would be

a coster with her because I had a man I said I can't goela I can't go ahead I'm to go to because I don't I'm I don't know

I'm saying and let's three four of the morning this and say they're in here with me, and d'all because I'm

a I'm afraid. So, I'm in the antecedent of all what I

talked about to talk about that she had said that she had a me, to all yet

more, no, because I said, a way, that's so I'm, so I'm

so, I'm, well, that's a question, well, no, so,

what is, what is that here in the court is that there's three

nines there's three in the window and one I've got a rott

the in the in middle of a man who did in listen to this

I'm saying I'm what I do you never my boy and I'm

there sometimes in that my brother I was and he was

so that was all the the process of my mom in the

hospital the the only that were and there was Mama China, my cuneada,

this, my brother and eventually some of the children of my mother. So,

this, well, my responsibility was that that she was that she was a time.

So, there were days in those that I had costed in a passilito

that connect to two and bar recamars and so at the

distance. Here I'm here I'm I'm dormia I'm doing a little

a little a little to be a no, and yeah it was a night and I

don't dream yeah really I'm not I'm not to give us my

old and then when she when she when she fall at the

insufficiency renal I I remember much that in an

in an occasion a thing very curious in the hospitals

not to have two familyaries. It has one one more more.

It's okay, okay, okay. So, and in that occasion, I don't

why, we're allowed to get us to Papa Kike, that is

the the, the wife of the wife, Kee, and to

me, in the night when my my abel was interned. So, we're

we're to get us. So, so there we're when in the madrugat also,

these checkos of routine every certain hours, and in the madrogas they're

they're not, my abuela not, but when that was so said

was really inchadita, yeah not I was, I was only he

was in his head, with his eyes, no. He ambrue,

he's like, he's so, it's, it's, it's, it,

he, he, was, and he was, and his eyes,

no, so, so, so, so, for that my

old, this, is when they're when they get to me and my

my team a night. Then, then I can, she

are, these the other you know enormous of hospital. I'm

I'm in the feet or in the in the father Papa Enrique was a two meters

sent out of a seat a bed with the ventanal and

the in the infirmer to make the change of

the so so as as the and a little they're in a little

little up, the people are in a specific of a little bit of this,

manoeuvre to be to be to be so that the then that the

the end up the suor or what was to do do

do I think I was I was with my head to behind

being but with my head to back in occasions

moments, because the procedure, it was minutes, no. Those minutes, I was like, being and because it was a, it was a

morning, four of the morning, so I was, I was, with, I'mnolient, no, and he was, he was,

like, kind of, kind of getting to, yeah, I'm, when, of a minute, I'm

I was just I said, how? How? Why? Why? Why? I said, I said, in what moment

I'm going to to get the hair the if you had had to you had to come and I came to

and I'm to put me to come to how I'm I'm going to so I'm so. So,

you're going to you, you're I said, I'm going to. I'm not in a domino, signor, also you would have

seen, if I would have seen the other he had seen that I'm to have seen the

natural. And he's he said, well, I'm just they've to have the

hair the hair. He said this so that the collar of a car

that I'm a turn. Pum, Pum, me they've just, we've

just we we're just we're getting Pau Enrique and we're we're they're

they're they're they're and in another occasion that I, that I, that I kept, too, to be, that I'm, that I'm a costed, but was like, but was so, no, it was a, so, not it was a like a libitum, no, in the

an abitation, no, I was, being, and p, and p, so I, then I do a count, me pared of where I was in another day, in another occasion, me,

I was, where in that occasion was a father, and I said, I'm and I'm

to say, with who is the woman? She's me be and he said, I'm seeing,

I'm seeing a my mom, to Cuba or a Bernardo, or no see,

to her her mother, no, no, I'm, to, I'm, I'm seeing

other people, so-s, because were three Directions different. So, so I said,

A subscriber, me told this, that's right, right, I'm in mind. She had a mother in the hospital. Yeah,

I had several a few days that were in in the intensive, and they had several a few

times, one day, when you they're going to take to the time, coincide

with that he can't get to the turn, in the that's going to get to

care to and the brother, that was before she took to go a little so much to be in a little bit more.

But there he's done that she'd be going to get to get her to go to get to that night she'll do that way

I can't do not say that I'm going to get in intermedios and that they're a good

diagnostic. So I'm trying to tomorrow and tomorrow yeah. He gets for the

morning at first hour just they're the first in the first in the the rila So,

and the mom shebe very content. And he said, I want to you know to the

doctor's to get on the night to care. Ah, he says, she's a womaner

to be to get a little bit her hair recogied your scoundrel that they have

in the post the gorrito and very, very amable in a rattit

in the night I'm and I always still was too he

Well, no, no, no, but for favor, be and he question that who was. And, tell you that we want to compensate with with something. Because if, if it was much,

much the support. Aparted of supercharacteristic, no? So, she, she got it perfect. All the details. For the,

for the level of amability. Uh, so it was a person. Well, well, the,

his daughter, I said, I'm going to ask her to ask the group of the group of the group of

And I'm Impossible that That's a He has a He said we're We have Two Enfermenes

And so 72 camas It's impossible And so we We're going to Asked This is Rarro this

That's So that They're To ask With the turn of the night and two Three days

after she She'll She'll be to The group of The group of If they

They're They're They're Before I'm My mom When they

passed here, a quarter, she kept a farmer with her. No. We were the we're the same and one of the two she was in. Well,

so, maybe mom for the medicines was still. It's nother. The situation is that regress

in this turn of the night. Salio a momentit to walk, and stir the back to

her. Yeah, because it's very pesado. It's pesed. It's been in some

occasions. Yes, it's very When she When she Regress, the mama he said,

Hey, here is there, give the and the chair is that's but it

is a plastered. No. It's plastada. And then then I died of fear,

but I was too, but I'm not not I but I was doing

mom. And mom was very very very very so I didn't

that I didn't know that I was having nothing. But, but at all the ascent,

I always thought, I thought, so I was going to then I'm oh, yeah, well, much thanks for to care to

care my mom. We're we're going to say, and we want to spend the way. And so, and I'm

a preending the focus. And I said, we're going to have to our rations. And so

the rcento so I'm my mom now no, he's been to be. Oh, what chingon.

It's too was too. No, is that, imagine you to

start front to and not and to have the capacity to not enter in

a panic to not in a shock because is something supernatural what is

what is what is what is what is the being is the

because apart the the that fum to let's

exactly that's that's super super very yeah yeah

I think the the experiences supernatural many many people

those class class are a terror of the

reality is that what what is that the fear not

not properly to the experience per se Mario Castan

this actor of do he he says he

I always I always I'm always I don't have many people what I'm what I'm in years when

we've been a house of doblage, a studio of a studio of a recent we

we went to we're going to go to the quarters to know the place in the where we

we were to rentar and they were made the contracts we we used

the stuff it had to pay for what

we had and I I'm I went with the soce I went with

the and at I said what they're it's pretty precious, no, it's pretty

and they're in the garden there's a virgin of Guadalupe in the question of

the doblage he's he's that they they're that they they're they're

they put in a scene that's they're they're a because when the

pictures are the when the cinted the thing they they were a

loop in English. So, a mode of a chist, they're a lupita,

the Guadalupana, she is the patron of the lupitos, the lups. So, he said, what the

place so we're so we're not the patron of the loopitos here. And the

contor is a not, no, they're not they're not, they're

the, the the doubt not not is because there a virgin Guadalupe.

The doubt is because there cruises in every one of the habitations in

all the windows how? No, no they're not they're not they're not all the

windows have and they're in a corner they're so they're very extra or you

they're going to revisit to the house and all the windows they're all the

occote is a is a is a a a is a I'm

I'm I think I'm The type Palma, with those that are the of Semana Santa. Okay. I'm going to say.

If I'm going to be in the comments. Uh-huh. These crucesites that are in all the world, oh, and they're asking the owner of the immuble,

why are you? And they say, well, it's is that if occurred to something, so 20, 25 years here in the

property, they were to get to get to and they're to get a daughter. Oh,

and say, and then, and then, well, and then, well, is that say in persons that

there's that they're and if no, it's not it's not it's not no, I'm

not it's not it's no, I know, I know, I think on that, well, well,

well, well, well, it's that they're to be to move on there, she's

going to occur to things, says, but are you, I'm to know,

the history, I'm, I'm not remember, to be the Sandra, and then then I'm

said, Sandra, she's she, she's, I was like, I was in the door,

and where I was the door, and there were in the door where they I said, you're going to

say, I'm going to and I'm going to and he said he in voice he repeated various times Sandra,

remember that in this we're no, we're not, we're not you're, you want, and you're

that's always that's always that's always we're doing, and or so he opened a point of a so I'm there and

you started and I'm you started with a way of a way comica for that

this not it's and never incremented in nothing no no one a situation

that terrorific but just I think the spectator the person that person

that who lives this situation put much of socer in the situation

and is what the is so terrible is so situations that other perspective, not are the

example, the hospital. In the same experience, the mom was a great- with that's not know that

was a little kind of a idea, and the child, that's, he had used to do it to other way and

give her and put her some certain the door I think she was, I'm sure, it was

in his or whatever was what, in a certain manner needed. What I was.

And the mom not took this this revelation after this revelation after she had

been sure to be to the not even that's not that's all right for the thing that's

I think that she would she said she was talking that was that was that would be that's

that's that's sure that fiatte that the the abel had

these alcans and was I was so that I that when, well, the,

the, the, the, the, the, the, when they're they're in the barrio,

the independence, when mom yeah, she's, she's, when mom, China, he's,

they, they're, they're, because, because they're a creder of an infon-lavit, an infon-a-it,

this, well, well, they're, they're, they, they're, where,

you're where you right and where I'm a machina also. Well, obviously, then they're to make a community

and start to have their people, it's a big, it's, it's, it's so it's, it's, it's

so it's, so it's, so, then, so, they're, they're going and then,

then they're going, fallecing. Yeah. She's enter a through the business and

all the but to the The other amigas more intimate of the barrio, when the

abel was a one he was not to say that's he was

a woman because because if I would put a little the

old the she we decided we we didn't

say not time then we we and we

And nobody said, we said, we said, we said, no, we said, no, we said,

no, then nobody said nothing to the abel. Because we don't, we don't,

we're not, we're not, that we're that's, he's, so we're so we know,

so, so, so that's, so that was, that's a year, no,

the Miercels us, she, for this, no, took contact with

some family of this this or a woman and he said no, the

nothing, nothing. That's a day, but the Merecour us

says, and where they're to be a fullanita? No, I want to say the

name for a yeah. Well, yeah. And where they're going to

tell a fullanita? And we said in the hour of the food,

to all all of all. And we did we all we Yeah, where they're,

where they're, they're, they're going to enterer because I want to go. And all we know how reactionar. Nobody had said nothing. Nobody had entered out of

nothing. So, then we said, okay, it's inutil, sottener this. And yeah, well, this,

he said, no, then, they're, they're going to enterer in that place. It's,

he agrav- that he had, What? He had? I had cancer. And then we said, no, not cancer,

no, he said, he was another infirmative. This, but for the case is that

she, she also could have these alcances of, inexplicably enterableable

to get to the partida of someone. And she had the information. And,

and And so, not I was talking in that case with the phantasm of the spirit or...

No. No. A yeah he was like a kind of a special of a

revelation. Yeah. That's there's there's different names. There's one that's

one that the power even mentally, the things to the not, no, not

no, so the other is the clarisapiency. So, you know, you know, you know,

you know, so you're things, you know, so information. So, to

his way, that was he had, that information to get to she was to express

we're in a world that's that's the dark of the dark, those.

For me all exists a little and I think in a little a

little. This for this, this, I, I see that exists

the good, I know the the mal and in that the sense, the expressions of the same,

not the light that has the human, as a sombre that has the human can get to have different

manifestations, and I don't see. I have a question for what you've said, the good and the

bad is like a form in that the the being and the man of the human has

matized. or is an entity apart. The maldade of the world of the history of some way

is a common and are some people are some people who are or is a general or is a

human and exists for it only. I think well to me my reflections

in theater my analysis in relation to creation of characters

and this I have made understand that we know that you

you or you any person has in his interior

all those acts of the love that can get to

express but also it has it has all

the some the and acts pervers that can

get to express for desires or necessities in both situations. For example,

you say, well, I don't say I'm able to get to someone, okay, that's what you

know, in a moment in which you are you are talking and so but the day and the day

and I'm no, if you see, in the cera in front, that are moling

to get to the person that most you know, in that moment, is active

something, that you obliga, that you, not that it detona that that's

a sombra and that instinct of protection that you could get to get to get to

terminate with the life of someone. So, no is maldat per se

but is an act that is a other in contra of the life

of someone more. But also that and no, I think is

something natural and not we don't have because this it would be very very

innocent of our part of it's that I know it's that you never but

all we've always have been of envy of fanciments of

banality also also as things of altruism and

the so the well the the well I

I think that exists in all of us and I think it's a factor latente and is a factor that also a distance of

something that it gets to get to detonar. So, then I think that more than an entity, more than an accumulation and that in part of this accumulate this accumulation or that propitiated

for this accumulation he could get to emerge as an entity physical, external, individual. I think more well that, taking as, as, as, as, as a reflection,

the, the, the, the sentiment and the necessity of, moved by the envidia, or moved by the rencour or moved for some

sentiment ciphra in the in the pain that is for that someone attenta

against someone else. The maldade is present in all us but but

it's that something that something it or that something I think more well in that

when it when it was very little I had a 13 years tend to

think to think to think much, much, much, much, much, much. For the circumstances in

those that I've been to get to practically my movements and remain to time, observing things,

and then my only refuge was my mind, and me was a matter, and we're able to make, we're able to

do the world's even, if you're even if you give us the permission, were men, they were

ones that were the people, and they were you, those, they were, the things had

changed and modified, and They were under your control. One day, in a conversation with an friend, he said a phrase that me I'm just wrong.

Literally, me, I'm just going. We're coming. A day was a midi-day. I remember that we'd go to a road to a carlady of a carmion. And me says,

this friend, I've just thought the thing more terrible that a man can't think. And he's ried. I'm he left confused.

And he said, well, what's what's, what's, what's, no, never,

never in the life I'm going to be able to say this. Oraleland. A rise of that

that I think he was, that he was more being to generate this situation

of intrigue, I'm, I'm sure, Bernard, meces, thinking in the things the most

terrible that could think, that is the most enfermissed and disgracied and malvado that could

cross through my mind, that would never me dare I'd say it with words. And my world mental is transformed in a a pesadia. All those things that I started were

so many times and so many ways, that came to a moment in the I became insensible in the life real. And I began when I read as

psychopaths, what they were what I thought they were a vacuum absolute. and a form total of of in inocence of emotions

and I'm to understand that probably there was a rupture in a moment of his life that

that was that was that it was a how it was going how I came out of

the time could do make a time, but one that was that that heb

that you're you're you're you're impossible to go to

let's to another but yeah I think the human in the

interior, of a certain way and for some kind of is capable to get to the sombra

more or the light more luminousa. Yes, yes, in your experiences of

the theater, the theater is a place a magical marvellous so, so it's accumulam

much energy, of the public, of the actors, no-se-d- -de- you have

taken some experience there? This me so- just in the place in the place in the

place you you know, in the, no, I'm going to say, well,

no, I'm going to say. In that place, the people of administration

me said that the theater was in a third piece. singularly was in

a third piece. And the people said, no, so the theater is very

beautiful, it's a good, a acoustic, has a butacado nutrido, no, the space, function, for

supposed, as a theater, but also it's, a auditorio that's a little necessary for

that any event, this, say, uh, professionally and with, it's very

equipped, no. And, who, who, who was attended in that

moment, when I went to see the place, and with a colleague this, Louis

de la Cruz that he made a great a brazo and a great of the

cross. We said we're just we're just in the the cabin where

this can't do you do no just there was the place

favorite of a of a spirit of a master He had

Presence Like, but his place Was it? It was a So, if you

you put in the in the theater Just in front and the right there

is this vitral No Front of the scenario in the part superior

Uh, in the part superior Yeah this vitral in the that eventually

you can you can you can't You there's there is there

there there there So, so it's So, so a a

a time, I have an ensue with my group of the

generation 2019, we were doing so their post in

that's going to start in Marcho, so so there I have

the opportunity to talk with the people and me

do the accessibility to the project no So, in one occasion,

I had terminated the the ensignal and I said, Sientens all in the butacas, for a favor, for you,

for that I, for you, I said I'm all these indications. So, they were all sent us. No,

I see I, but I what I is that of a muro, viewing

the front, of a man, was a person, was a person, with the

It was a It was a Aftar Like a So I'm So I'm So I'm So I'm

The people That I'm The people that The people That were in front of me, The kids that They were They were

So did you I'm going to For some seconds On the seconds In the In which It's like

And boom It's It's And I And I I I'm That I

I just got it. It was real? Yeah. So, of being so, of being, all, both,

both were to turn to right. Sure, for so. So, then they

said, what, he, he, what, he said, no, no,

no, see, wow, he, he, he, he, he,

he, he, he, he, so he, he, I, I,

the, the, the, of the that, of the , ,

I was I mean, so it like he was wow wow Hector Suarez

says hector is this actor the father or his father or his father the his father is

he is he hector sores he says he says he says he said he's

he just he just see the cabin and he there's a person that is

moving then he Hey, preend me the light of the and he's

that's that's that's so you're going to and he's a man, he's in

a bad he's not, I'm you know, I'm talking about you know, I'm doing. Prendem

the light of the time. No, you know, you know, you know, the situation

is that I'm a third time. Oh, yeah, yeah, he's

so I'm so I'm going to go to and he back and he he's

top with one of the other he's who is, is to be playing the lo, I love.

I'll have three times that's the I'm the one of the theater, boy, and I'm not in the theater. And he's the

technical? He's not not. He gets to the time. He's still no, no,

no, no. And he's, he said, he's there over. And he says, where we're to get the

door with the door. So, so that nobody can't enter. Disser, that day

no ensued. Me went, palid. And there another editor of the master

Perrin. the director that's the work the dame of the dame he says in the same

theater insurgent he passed something he said he gets a time, he goes

very, very too in a day that I had to some day and then the door

and nobody he opens and he goes to the door to go to the door to start

to the door he said he said what he said he said well he's

well he's my master perrin we we're here this

Oh, how no, I'm Nacho. Any other anything I'm going to say to be able to give him. Passer the

door and get to the total that when he is in the in the scenario, he's on

some on the and then he's preending the light and a and a what is this here?

What are you got to? He was a man, he says, I'm sorry I'm perrin and I'm

who's the work of the dama of the Dora of no me no me no

I'm but where where you met this me brought Don Nacho, and the Entrade

And he said And the quat He said, And he was Palli And so me kept I'm going to

He said, I'm going to Hearder A chaparito He said And said Well, he's

Morrow So he He said And he And you And you And he No, I

We said We're We're We know We're We're they're not going to these phantasmas, because there are many

types, but there are ones that are so much their work that remain in him, in it, in a certain way. Permeneas in doing the other things. Oh, yeah, if, this, you know,

you know, you know, that's history of the the infirmary of the piece, no-se- that's the planchada? Yes. There's, I'm, I'm a question

with the planchadas. It seems that no is one. like, thanks to the podcast me has written many

people in many parts of the Republic of the Latin America in all those hospitals

there are one. And what so is that all the hospitals not have

a so I don't know I don't I'm I'm said,

and me have said that in the hospitals cancel

all a one for example of the one to

seven that in the seven no there's no, there's

nothing, and they're to ask. I'm going to ask you. I'm there's there.

I'm there's I'm going that, I'm have told that that I

that's a reason, that's that's that's in the university. No? Well,

is that in the university, there in the 25 and the 22. Valga, me,

I'm where I'm metia the time, and there in almost all the hospitals.

In fact, I have one very good with relation to this planchada and not is of terror. It's a situation.

Is a story? A- see? In the hospital that in San Pedro. Okay.

They're a known- her man is to have her man is her son she's a

mom a primaryisa. So, all the questions of the medications of medications, care of

et-s-t-c. as they're in the situation of COVID no could have people there more than she said and the children and you're not

we're going to do you're to care of the hospital because he was a baby in the peak so he said

no we can't cause that's super dangerous exactly well yeah yeah

yeah she was she was she was waiting she was she at the one of the

morning is very very preoccupated and because she is convasient, no can't move,

no can pick the buttons, no can beasal to say, and he's going to get to be sure. And he's to say, for

favor, come, come, a little the medicine of my baby. Help me. Say, at the

five minutes opened a door. Entro, a new a new form different to the other

the otherers. He got very well, he gave the medication to the baby and he presented to

looky. She not I'm Lucy, what you need to he's got the door. The door.

The door. And by. like 40 minutes after a new a woman and he says

ohie I'm sorry I'm I'm here I'm the doctorate to the medicine of the new

but I'm okay I'm okay but I'm put in the register that we did in the hour

and he said no wait me you know you but you did Lucey and

she gave the medicine like Lucy who's who's who's a woman she's

she's a woman and was a that was that was that was that was of 10 years.

That's what we we've changed a time and so it's well,

then then he described the detail it's he was very

because of the desperation got well well was well

the contraste where we say we is very fashion so

not a detail to the detail and the he's a description. Colors

type form a courtes the the reconnocio. Well, the situation no terminate. The situation is that when he gets to the hermana of this known,

he's a carlera and he said, hey, how, what, what, what's her this situation? And he says, look, me. And he's a photo. He said, your mother is very meidos. No. Inseal her the photo and ask her if she's she. And she's

she, she's, she's a lot. She's she, she was. She was the first group of and the family's and a accident.

And we're going to get to get to many times people who say we're people who

have done those medications for something she and she they're and she

must be me and my my friend but she's a lot of

me even even even after all understand the

situation then so no so no he he

don't he's where where you don't you and where you

you all the protocol, the inventory, etc. So, no, then you know

in that part, but if said that in that was a hospital, it was

a year, it was a lot. Firtie. To you, not you have to have

seen, because what I saw the distance. Sure. It was the distance. But,

this, what, how real or how much natural, has to be a encounter

natural or real I'm referring to imagine that I'm that I'm not I'm not here and that's talking about

and that you're the chawo the chabwe this of the Pasmina Mostaza that's

and that's and that he's all the attributes obvious and that they're

who is this. Imagine for who who who lives that situation only that

person knows how how how much how much was that I'm I imagine

you know to be in that situation to be talking to be with someone

that someone eventually not you know you know how how

how they present those Those those encounters. Ah.

I've, the situation that I've, I've, I've lived, I've lived five situations in my

life. For that I think I'm, no, I don't, I don't want to put a

number, because the encounters were very different. The, I'm going so I'm

so I'm a thing, because various of the things that I've were so were so

strange. Extrarous. Extrarous. A day in my house, the being

a adult and I was in the quarter of my father's and in the court of my parents

had a door that was that we're to have to let him because he had to

a air. There was a great of very very very very very

and it. And it was we're a place that door to and ventilable the

house to very much very very aground. I'm sitting and I

am and I look to the door and I look clearly

the sombra three-dimensional, because not was a sombrae a plana, of a man with a sombrero and a maletine, I'll go and

I'm detaino and I'm detaino, and as I'm in my lecture, I'm going to, I'm going to and I'm and I'm going,

I'm going to do, what's a man with a man with the door of my papas? Yeah, I had around

to be about to 16, 17 years. Well, well, it for this, it was a a time

where I was living a situation of stress altiss after after it and then

some days and I go back to put on the same in the same thing in the

house. But it was something not for the parpadeo not was it

and it was a but I said I'm saying I'm consider a person

that very with the person with the thing is different so

not me tend to surprise emotionally it's different my impact So,

I'll go Reyes of my things and I'm going He's the same He's the same He's

The same What's What is? What is? Well, Passing On the days and

I'm in the cell I'm I'm a A man And the Pellotta's a No, it

Ruede to me. So I'm What's? I'm going to What's? What's? I'm No.

Nothing of MED Only was extrano. Some are the sombrers and some people here but no

to me don't me don't mean they're not to be not so they're a sombre and a day

passing by the house of a man and the man and the man and the man just in front of the

house and not to where they're going to turn to see to face to the

back never never was the last that was the I'm

the but they However, I don't know, like, like, some, I know, like, some, I know, has been, or what has been. Inclusive imagination,

but I, I'm, I'm, I'm, I'm, understand the hallucinations, those, I'm, for the situation to use

so the imagination, he, I, was, you was out of the sun, the, dream, the

dream, the, I, didn't, and it was, and this, not were so, so,

so, three years after, go, a way to Michigan, to the

house of a man to he said before to get to the house to get to

say, in this case are things things things I'm all the people who

have been in a kind of kind of I'm never I've never been

never I think that I'm but I feel to be so

I'm so I don't I'm so there the information

that we went one we're we the first

four days no passed on nothing. But there other inquilins,

other friends of his brother. All were all the time and they were doing things different.

They said, they were the way, they stiguan the hair, and they were nobody, they were

things going of a closet, things so, things like, so, no, that's,

we know, we know, we're not, we're brothers, and they're armed, brumas,

or really occurred, something, something. For the type of environment that I'd adjudicabas a brawas in that time. I was an expert to make them to do more more than to do as well. Then,

then, then, I'd like he'd say, so, yeah, sure, that's pretty. Terrible, terrible. Jules. Jules. Jules, it's a delicium. Montar a person in an experience that doesn't know what I'm

living. It's something very beautiful when not has a finality that macabellic, no? Passed a a good rata. So, so I said, I mean, I sound to

that. But I'm a little something a little not a night and I

know that they're not going to not them to be doing it. They're a, it's

a, it's a little, really, so I know, about, not a lot of a lot.

No, so a very great, very great. Where is the place, the first

construction to where you didn't, you know, you're going to be a part of, there,

various bards, arbables, and all. So, then they they were in the front to more to 100

meters of where I was I'm not I'd have a time to take no, I don't really that's a

time at the time. And then I'm I'm going to do a time. I'm going to get the

court, me do you know, and in this time I'm a group of those things before the time of my routine.

I'm I'm I'm going to say, something I've mentioned, but the people that were people that are

people exagerately good, in the limpeas detailed, minuscule, until the

ultimate detail important for them, the muebles that were treated with much care,

then you know, all, so, very pulkable. Oh, pulkro, and in the

tract, nothing rud, all very, very subtle, with much tacto. So, I mean those

oldies antiques in the house and were used to those are doing to do the tatarawel

he had more 10 years and the mobile and the property exactly. Why

you do this because what I was strange? I'm going to go to go to go to

and I am I talked and I know the side of the fourth was a

pastio kind of like of the 20 meters and they're from the the

side of the passio and they're lentos. Passed for the quarter. I mean

a co-localization in that then I'm know where they are passing of a quarter by quarter. Cruzan

the my and I said the father of my friend, it's the that's the

second. After my right, there's a door there was a door

and in the the kitchen, there was a refrigerator of metal. Sunan

the they're they're going to and it is it's there are two barrenas sonoras,

no sound as far as well. And then the refrigerator. Sounded the those passes that come in the kitchen. They're in the front of the

passio. And then then I'm the refri. And again the refri. And again, and Iterre. Me aterre. Me, I'm

full of panic. I said, no, no, is the papae. No, I'll never, the refrigerator so,

that was what he preened the focus. I've seen the the signor that was the he that is absolute. His

brothers don't permit you don't make that they do this what chakot is going to

be able to go, I'm going to get to the house and then the guy, so if it

got to get to get to the door is something and in the door and there's

no, and no there's no no, I keep doing the entry no idea, I'm done a

mind, like in my life, I've seen, I'm tap. And the and the

Passes, now not the one person, are the one of the one of the

time. Rapid. And they're in the quarter, can't for the camera,

they're going to get to walk to the and they're a ching of all the

time. And they're when all they're when they're going to get a time.

It's a thing that's a lot of a lot of my room to be a car, sitting.

Yeah, with a with much more yeah, with much, yeah, so much, so,

and I'm around where I'm full of persons the fear. The fear there was terrible but then

it's even how it's how it can be impor to get a I got the cross literally

I gotro the and I'm concentrate and resal but I no reso with the but I

reason the I'm the I'm and when I don't know so psalerer there's

there's there's and the moment in the moment in the I'm and passos

to the quarter. No, I said, every that you know, every that I was to just I said a man

in my mind, all rebe said. In that instant Ivented the colcha and I said, the chingada,

what I'm got to be to tap. Yeah. No, no, I'm going to go to get to

and I'm trying to me to get a situation, I'm saying me, I'm just playing a

problem, and it was the form of the, how contend where it was the they're

all Styr. To the mother is what They took. One chava Colgated in an arbor, the other

I'm applauding. I'm attacked at the Riss and the other inconsientate. I'm going

with me his own oh, he's like, who? Who? Who? Who did the

hell. The Mammes? No, mack. He was. No, no, you're not. You're

pasted then since then this then. Every every we said, way,

no, it's a bit, boy, no, I'm, I'm not, I'm met him in that

house. I know that you but not was that you know. That's

not. No, I'm nothing. It's the reality. Not be nothing.

But is that not ever never and hear nothing. It's terrible.

It's terrible. It's terrible. It's terrible. I mean. I mean, I think the sense of

the is what you do certain about something. All not

having a reference visual something so that's so

your imagination your imagination it's exactly and it and it gets a point in

those that you know you can't you know that you just because the time it's of what

you imagine is what you imagine is it's correct yeah I'm sure I'm

I'm I'm like a as a like as the theater

I'm I'm I'm I'm I'm much with the

imagination of the of the participants, of the students. I'm participle

also of my imagination. And the imagination, okay, what you did it

and it was a product of imagination because it's super strong, and so

the connection that you said, you said, and said, and did you know, all you,

how you do you do you know, how you're in my imagination that? If you

in a circumstance of a of much of the of a of, not a

panic because you could you like a decision and that decision so

corresponded physically when when someone when someone it's it's congel

so so so so the imagination is terrible

when is participes of this type of eventual

realities. It's not, is the you're saying the food for a bad to go to a bit of a

place. You're stas stas the fire but with all. No,

call you. What I did, what I mean, what I think I think I have

seen, but no, no, I don't, I'm, the me was an

percent, no I, but I'm also, I don't know, I know

exactly what was. If, I consider that not was imagination, So,

So, So, for the antecedent that all had of what did in the

house. Aha. And because there's there's a situation that the monks

the people are the tulpa. The tulpa is when something in your

imagination you recreasted with a faith in that in that

exists and with that the time that he gets

a a moment in that you do you real. And that they

they're called Tulpa, which is like this amigua imaginary, between commies, that yet gets a moment in the that's in the world. And exist, it seems, it seems, it seems, it has documented to

some cases, where the tulpa it can be many people. So, that's what the monk, if it's in the world real, and there are various

people who experimented, that they're doing. As a actor, with the work of the mind and the creation of

characters, you have occurred that one of the characters, even if some of the mindalment, it's a lot of

there's a lot of there's other things, there are many things, there are legends urban, or mites urban, of actors, that have lived so intensely

a paper that the character is the character me refer to the character he's got to eat and

are present they're some, so, so in the personal, never me has to

a situation in that I have had been the control of my imagination and that

this me have repercuted to a a some a

circumstance or a situation like that no. Yeah. I'm,

I'm, me, I'm, me, I'm, this, of this, this,

this tap in the that you, due to the comment of your friend, you,

um, commenced, like, kind of, um, this, this, this,

this, this, this, no. In some occasion, as an actor,

I've the opportunity to interpret to the person that, that, that, that,

that marked my career as an before, it was an before. This person for who

going to see a podcast, and I have participated to my turees and I

know as a perfect about who who I know he's called

Teo and in the hour saying Teo the Feo. For this

person I I took to do the job of the of camp in the actor is

to go to those places, is to let's that the person says that with what has contact, both orphatively,

visually, sensorial, and emotionally, and emotionally, in some cases, no. So, for I

do give a person I, I, have to do a job of a kind of

something. Why? Because, imagine that in the text, original of my master Renalindo,

that also I'm a grand a big a big of a imagineate that this personage to in some

point of the history that the place where he is miserable and that the

perils come in the children who are the children come perros and rats and the

adults come perro, ratas and of those nines. Wow. You,

as a actor, how you have to this, that's the imagination of the first

creator, that's the dramaturgo, you as a third creator, because the second is

the director, you as you as a creator, how, how, how you traduces

you first this, how you do you think, of a creencia, this

The spectator to do it also to do you. So, lines terrible.

So, for supposed, there was a work of the I'm,

in the I'm a barrias very poor, to try to get to contact with

textures. I, a, a, a, a, a new an

in the caron, and there's a door, a If the difunto in question the infantic a little bit,

then you know, ponsel it. Or an or one or here is. Ponsel. That's what was the work of camp. The work,

but there's another work that is the construction emotional, sentimental, and of imagination. That this

work of campo not you know not it did it or not it was like the

of the kind of to be to be So, then you have to construct

with your imagination. Imagineate that this is the example very very simple

that a person who I'm a similar to a, we're going so close of the

volcano that the current and the brasas not to be

the the work to the work of the time is that you

could be able comfortably a helicopter, an avion, and could over-volar a volcano. No, there is. No, no, no, there's the resources

as to go to that point. Sure. So, the imagination of the actor has to be perfectly well-trave-ed. For what? That line is a real-d-d-d-

in Te-O- there were much cameras occultas. In Teo, there were many sotanos. There were

many places those cures, to those which I, as I'm as I've got to get for that these parliaments

you me those crillers. For something Teo was the one he marked as a actor.

Because, because interpreting to Teo, I I risked much of my

health because me so met to that kind of the things

that you experimented. And after of Theo, I interpreted to Theo for the lapse of two years, more or in those that

night with night, or every night that there was a function, I, I'd to be a other,

abit me, he'd to be that talking of possessions. The, the, the,

to do, to do a person more, different to you, is a species of possession.

It's a kind of a No. There's, there are some really.

There are some terrible. There are some more more, more noble, depending of the type of

personage that you decide interpret to, because then there are people who they're not you know

you know you know, you know, to, uh, for example, this, let's a

work in, in, in, in, he's a old, in, uh,

a year, leist a word, you said, ah, that's a good person

this. I would like to interpret it. But, but nobody is a work that

me got to be to put to the back. Well, yeah, it's

that the two years, oh, Oso, I have this paper, and it's

the so there's when mystically we're the actors, or the way, the way

very romantic, we're we're to be the person yeah. So, so,

so, for you give life this person of Theo that

when I knew that I knew that was to be accepted was a

accept was that they did an a that they

sobbed in the soul when I I took many

conflicts to get to him but when I did

that after the work of the camp of imagination

and that I that get to this congetture with this

necessity for me actor, this Alma, this Alma, this Alma, when I, when I, after this

these these things that I've so I, and I, I, dedu he that was

what he needed, the person who started to me. So, so that the people of the

encoe, oh, yeah, you're, you're, you're, this profound not

you and it's when it's when all and the possession of the

person of the character you know to be this kind of being

a but well I think me a bit of the thing

but to the to the I'm that in response to

your question the world the imagination of the

actor has a filter called Conscience of Actor over

a character when I said Teo yeah I'm not there's

there I'm going to get to get to take a control no

and there also something I'm also I'm the final

when the actor so over the overpasa of a of

a the the the mental emotional and it

comes to do do but that is like my reference to your question

about if in the profession me has occurred something that we're talking to these

these these these experiences that is what you have you have a

front of the same profession that you know that's that you put a

fill you to be to be being used to be you know? I romantically I think

in the personages like a way, like you have been like, live,

reales. You are a person for example. I'm, I'm, I'm, I'm not.

If someone comes here and there someone that's a story about a

kid who does a podcast and other chico that's a podcast and

that in the podcast so something something is a cifrado

in something that that's other is to person to you and he will be

become as a person to me and then then he will go to what he will or the so I'm so I'm

to say the participants of the the time that not not be the characters in a

frivola that not they can like a car of carton or like a trap that I

go to do that the person has a personage has the we need we need

we we're we're we're it has blood, has Cerebro,

has emotions, has some new the methods, has fackas has fackas has

all that we've lived. So, in that sense, then you just you

you've you've you when you work Teo, Teo you get

to all the immondicia if yeah, to get to to this vacio,

a fear, fear of the life, how how you

You can't put the the freno when Teo is taking more of Bernard? How Bernard can resurgir

of that in the sotan where he has to be to be with liberty? When

it was in that time of Theo my mother had had had

in 2014 when my abuela when my abuela and I was in a time with that work and

when I I gotro the front of the man and I say, let's

enter Bernard enter boom is when in the pain the

he's there there and it when in the parallels when in the

when Teo about the maltrato that suffer there

There is a point in the where you cross them when you have you here is here is Bernard

actor they're going as far those the process the

there there there is a point in a point in this

in this point in the that's intersection depends of you

observe to you and analyze you and know

some something of this it's don't doleering. Why?

Because in this point, is where the both both lives

convergen. In that point I think that the dolores

that have been with the pasto existential are

they were being in a way connected with

those and those because for the I was a I was So,

it was like, okay, there was a part of functions in which I did he

oh, I'm doleo. Teo is piquing. And I did it. Why? Because

you know, with a something with a mental me. So it was like

and I said, separate to go to back. Back to

that was to you go to a house you stas in your your

recorres the scene recorres the moment in the you're there's there's

and there is that okay well is that I said this parliament and this parliament

me to make a mood emotional and this mood emotional with

connected with connected with a man to the parliament

is that parliament is without sacrifice the life of the person. Bernardo somatiza. And no

you know does the same subtext, the same portador of the same portador emotional to

the phrase to the parliament. It's the parliament. It's a time.

So, there is when you identifications. There people who don't comprehend or

no He doesn't or no know this important faculty that has the actor at the moment to talk of the filo of the

navaja and decide to get his sentiments to the

scene is when the actor is when the actor is when the actor is when the actor

is the lastime in the scene Okay, there's a technique that people who are in this podcast and be a spectators

or are students of theater, they're not there's a technique that's a technique of the memory revived, delsy magic,

of Konstantinistanislavski that you say that there are cajones emotional of your life, of those which you can't

you take a record the essence of this record emotional

of you and call to a person for what that you talk is the real

the I'm not I'm not I'm this this technique to it's

a many of my characters but I'm so I only I'm

notis a little I say the actor He has to

work with his emotions and not with his sentiments because the sentiment is like

something something something almost ungovernable. And the emotion for me

or the manner in that I explain in my processes actorals the

emotion is the record of the sentiment very very I always

I'm in my process actuarial to me to talk about this no. I've

a new my 17 years 18 years that to go to go to get to

go to four municipies I with 20 pesos in my in my

bolso in my bolsio I recorried those four municipies

to go and me I'm because I was because I what I

was a more a sentiment of a So, where you go?

Vives a four municipalities of the people in the bolsa and if if you

get to go a coca X, me it's not and you yeah, if you

get to get to the 12, 11, how you're not going to do you? No,

me important, I want to to be to be there's 17 years, 18 years

to see to see this, this, to be a, this, no,

and then I was I thought. Because I had a sentiment. And for that

sentiment me moved and I had the things. Today I do you do I

do. Okay, no I do. Because I don't 17 18

years. And she represent that that that's that that's

the recordar what did to yeah and to

do for the sentiment of a more, to that is what I refer that is the emotion, is the

record of the sentiment. I don't see that love for her. But I remember that

I thought, and that me generated an emotion. That is what I use to the

hour to construct my characters. Recurred emotions. In

some I've talked the sentiments if the person he it's a merited. If there's a profoundity

precise, the which I have to get, I'll use my sentiments. But it's, it's, it's very well. If you're always you're using your sentiments. Because the sentiment is

ungovernable. The sentiment is, it's, I do it, no, I do. It's, lo, I do, and no I think. like the, like the odio, love and one does

what is for love and one also can do you know, is that I want to

do you do you would be talking from the feeling when super you

you remember what you think you did you you do you

that's that what I could have been I X, but I remember that he loved

much. So, I remember the sentiment is the emotion with the one of the one of the we've used. Of course, it's like focalize the sensations physical and emotivas

without the connection with the situation of memory specific, that that's all the intensification to a level that it's a little incontrollable. More or less, I'm thinking.

Yes, yes, yes. is the in your emotions you have a government because you know they're not

they're in a occasion we're in a scene we're there's a work and

here there were there and we was a companyer and we were in

the we're they're in a scene and they're a thing

in the person of one of the person and suffered

a person and he's confess to the other

so so So I'm going to and he'll be and pumperm, and then his scene and pop

and they're they're on the other and we're doing interactuando here, standing and partying,

rebotando the ball, in the dark I I was going to and I'm shiyehando and chiyand

and I did, I've been the filo of the navage it was over completely. Exactly.

He's his sentiments and not those emotions and it's incontrolable. no, so

I don't know because we have to I have I'm a I'm a I'm a certain to do

and it's has been much with the filo in the navage so so

as they existen like much types of canalization my creencia is that

at level sentimental you connect certain sentiment with that kind of

canalization or experience. What what is to do you see if you've a situation terrorificed all the

phenomenon you generated a type of emotion very real very vivid very big bigada

in your memory and when you're you're reviving one and you're

reviving one and what you start to transform in an iman to that to

that type of situations specific but there many types in those that that's

the same that's the thing that's the thing that's the first of the mother was a man was happy,

was grateful, and that's a woman, and that's connected to that kind of situation, we're going to

the wife, the mom no, she was a woman, but the wife, and even as

he was so he knew, and even with Mario Castaneda he, he's

he's never can't the situations in the And never get to do something

that's something that's something that can't but when we're we're in

we're with the sentiment less adequate and we're not we're doing

use of him of a form superficial but in the part

more profound in the medulla in the record pure we

we're we're in the iman of this type of situations

and then all they all they are like

we're the aliment of this type of entice, circumstances, creatures. And I do because, as a chica of the she was in the first story, she, as a reason

that the fear of that the fear, no, it's their experiences are terrorificas, but there are people who manage the fear and they're to experimenter other type of emotions

and my creencia is that then they're trying to have other type of situations. So, like, escalan. More than escalar, is like if

some are in the animal of others, the other's the other's the other. One's not they're in

fear. Others come in peace or love. Yeah, I know. And you generate that

type of situation. But if for you, see, something, we're going to suppose

that you see a person and that you notice for some situation that's

there. Because someone to do you to be to do you, to be, to the

And that instantaneously, to you to get your fear, your mind in the more instinctive

form, is possible that you get to have more these situations, but now

now with a matis terrorific and if the things that you

see, but it's because in a way, you you know, you just

you connected the experience and it's a time of situations specific. If you do it

connect a other, the type of situation, you're attract other

type of experiences totally different. It has been to do you have to be

your perception, but I think to be also in the thing to the navage.

I think many people who live in this type in the job in the

time you have to get in contact. Totally savourier, to startles

to get them to start us to and to get us and to

get and to get to get that that anemist that we're

a very our own own the world but in the world

that's the world that's not a mind of the people don't know how manage them

and they know them and they just that's what is what is some that's

the people that those can be to get a spirals

continuous of so so so Bernard I thank

thank great great great that no very good

but over all me I'm this moment so

that's this same the podcast to the day of

my has been a agas a the the the

the and this and so much thanks thanks

for having me invited for bernard thanks to you

and the audience Dear Family Nocturna, I'll despise with you. No, without to record us. Pressurely to continue.

If you could get to this part of the podcast. Oh, yeah. Yes, yes, yes.

Many, the reality is that many in the peak most high of the narrations,

me say, no, yeah, yeah, I, I've got to retomar the day the

next to the day is not to be to be not, to share, is

to share, to share stories that have lived in you're doing and remember that if you have a story

to share me mandam them for Instagram there we can we can't talk about we'll be in the next episode

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