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20261012 170000 UTC
206 transcript segments
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[00:01:32] There is practically nothing left of
[00:02:01] Looking for what remains of It was Christmas 1992, after the Olympics. My
[00:02:04] sister worked at the Barcelona project school, where
[00:02:08] they had children with hemophilia. My sister was a
[00:02:10] nurse. It turned out that an insomniac, that
[00:02:14] is, a guy who had done some military service or a substitute
[00:02:18] service here, went to a refugee camp in
[00:02:21] ex-Yugoslavia, on the Istrian peninsula. At night
[00:02:25] he connected his computer to the
[00:02:28] camp's phone and sent letters. The children from the Bilijose school
[00:02:31] and the project school in Barcelona, from Tibidabo,
[00:02:34] the children from the Barcelona school decided
[00:02:38] to hold some peace days because the war in ex-Yugoslavia
[00:02:41] was starting and they called me on Christmas
[00:02:45] Day at my parents' house and they
[00:02:48] cape, the yellow mistral of the space of the proposed that I go perform at the refugee camp. They told me they would pay for the
[00:02:51] trip.
[00:02:54] Well, I couldn't say no and on
[00:02:57] February 23rd,
[00:03:00] 1993, I left for
[00:03:01] there.
[00:03:05] We had our doubts about whether I
[00:03:08] would work out.
[00:03:10] Then we had a fluctuation, just as we would in a foreign
[00:03:13] country if we had been contracted. We saw
[00:03:17] that it worked, that people wanted
[00:03:20] to laugh. It was in Croatia, but there
[00:03:24] were Bosnians, there were Serbs, there were Croats and that
[00:03:28] day everyone... watched the show and when it was
[00:03:32] over, let's say, we could digest it, we saw that it had served many
[00:03:35] purposes. From then on, we made another
[00:03:39] trip with the jugglers and
[00:03:41] acrobats. He came back very quickly and asked us what we would think of being part
[00:03:45] of a project called "Clowns Without Borders". We sold 500
[00:03:48] t-shirts for 1 peseta. We said, "Eh, Tortell, we have
[00:03:52] 500,000 pesetas, two vans, 10 artists, we are ready to
[00:03:55] go on an expedition" and we were the third historical expedition to
[00:03:59] leave. To work with refugee children in Croatia from the Balkan
[00:04:03] War.
[00:04:05] We have set ourselves the goal of working in favor of
[00:04:09] refugee or displaced populations. But who
[00:04:13] knows better if this population has suffered
[00:04:16] these effects of these problems? It's the
[00:04:19] agencies that work directly on the ground, for
[00:04:23] example, the United Nations or Unrwa,
[00:04:27] which is also the United Nations agency for refugees
[00:04:30] in Palestine. Eh, there are other
[00:04:34] organizations like Doctors Without Borders, like Terres des Hommes, like War Child. We have been doing this for
[00:04:38] 23 years. Last year we managed to do 1500
[00:04:41] performances with the 12 sections that exist. I remember the people from my
[00:04:45] town saying, "What are clowns going to do in a war?"
[00:04:49] And we replied, "What is a war doing
[00:04:52] in a normal country where there are normal children, in the squares where there should be clowns on Sunday?"
[00:04:56] Nobody could answer us
[00:04:58] a unitary whole on both sides of either. It's incredible, eh, because,
[00:05:02] of the "Biblioteca Breve" collection of of course, people don't get paid, they go there voluntarily,
[00:05:06] and yet we always have a very important
[00:05:09] demand from artists who want to go with us. It's addicting
[00:05:13] to go on expeditions with Clowns Without Borders. Many people tell you: "Wow, you're such good people,
[00:05:16] no, to go there and do that," and you think, "It's
[00:05:19] reciprocal, because it's an incredible boost." No, I think
[00:05:22] that all clowns should at some point go on
[00:05:26] a Clowns Without Borders expedition because I think it gives meaning
[00:05:30] to the work we do, right? Due to the crisis, because public administration stopped
[00:05:34] funding, etcetera,
[00:05:36] eh, we had to resort to asking the artists if
[00:05:40] they could help us finance a... fourth part of the tours
[00:05:43] and all like that we still have a lot
[00:05:47] of artists who want to participate in the
[00:05:50] project. This organization is for the children in the refugee
[00:05:54] camps. As long as the children say that we must continue bringing
[00:05:57] clowns to the daily life of the refugees, we are obliged
[00:06:01] to do so. We went for a walk in the center of Beirut and we met some
[00:06:05] children who had been watching our show two days before
[00:06:09] in the street playing at being us. One
[00:06:13] was me, the other was the other and they were doing the same pantomime we had done in the act. They had
[00:06:16] only seen it once, it had stayed with them. Two days
[00:06:20] later they were still having fun, remembering the performance and the silly things they had
[00:06:24] done to them, you say, wow, it's not just the
[00:06:27] hour or the forty-five minutes or however long the show lasts that you're there. Then when
[00:06:31] the clowns arrive, they manage to get the fathers, mothers and children to come together
[00:06:35] in a space to do a joint activity, which is to watch a show and
[00:06:39] enjoy it. Plus, when you see parents and mothers laugh and... those
[00:06:42] knowing glances, that's when you realize, you say, the work we are
[00:06:46] doing really has meaning, doesn't it? This global
[00:06:49] consciousness doesn't make you happy, but it helps
[00:06:53] at least to be more coherent. There have been countries
[00:06:55] where certain things you think will make them react by laughing,
[00:06:59] they get scared, no, they throw a firecracker, Tortell throws a firecracker or you juggle
[00:07:03] with fire and of course you have to
[00:07:06] measure and calibrate in each place, each place is a
[00:08:07] that. I haven't seen any other organization with such involvement from
[00:08:10] professionals.
[00:08:27] To explain the experience, I explain that I was lucky
[00:08:31] enough to go to Sri Lanka a week
[00:08:34] after the tsunami and there we dedicated ourselves to the
[00:08:37] schools.
[00:08:47] There was a day when we performed at a high school. Out of
[00:08:50] the 1500 children there, only 700 remained. We met
[00:08:54] very early in the morning. We held
[00:08:56] some funeral ceremonies.
[00:08:59] We did the show, the beginning was hard, they weren't children, they were
[00:09:03] adolescents, so they already knew what had happened and
[00:09:07] furthermore it was very curious how they were recognizing each other who was
[00:09:11] there, who wasn't there. And when it finished, when the show
[00:09:14] completely finished, the school director came and told us: "Eh, they have
[00:09:18] brought us many things, books, notebooks, pencils, computers,
[00:09:22] food, blankets, but no one had brought us life. Thanks
[00:09:26] to you, from today we can talk about life, until today
[00:09:29] we could only talk about death."
[00:09:41] And what is... since, well, after all the years I've been doing this, these
[00:09:45] moments, I wouldn't stop doing it for anything.
[00:10:01] For me, the most important thing is to see that we are all
[00:10:04] equal, the people who have nothing and who are having a
[00:10:08] bad time, these people have
[00:10:11] human quality.
[00:10:22] I am clowning for these children and probably
[00:10:26] it will be the first clown they see,
[00:10:29] probably it will also be the last and that, well,
[00:10:33] you carry it in your backpack, no? But what it does do is make you strive
[00:10:37] to do your best.
[00:24:51] In 2014, it was 25 years since the death of the poet and
[00:24:55] editor Carlos Barral, who was a leading figure in the
[00:24:59] culture of our country. During
[00:25:02] the gray times of Francoism and the beginnings of the
[00:25:04] transition, when the Pyrenees were more than just a
[00:25:07] border, he was the only Spanish editor who did internationally recognized
[00:25:11] work.
[00:25:28] an award in which the main European editors participated in open
[00:25:31] debates with the public, allowing the literary voices of the
[00:25:35] democratic world to be heard in an environment subject to the rigid censorship of the
[00:25:39] dictatorship. He also promoted the so-called boom of the
[00:25:43] Latin American novel, which configured Hispanic literature as
[00:25:48] the Atlantic. At the head
[00:25:52] the Seix Barral publishing house and later as director of Barral
[00:25:56] Editores, he promoted the publication of the best international
[00:25:59] literature of the 20th century. He also supported young
[00:26:03] writers who are now considered great masters. His
[00:26:06] involvement in the struggle for a better world led him to run
[00:26:10] on the lists of the Socialist Party of Catalonia as a senator for Tarragona
[00:26:13] in the elections of 1981. During his
[00:26:17] mandate, he achieved the approval of two laws that had much to do with
[00:26:21] his areas of interest: the
[00:26:24] Coastal Law and the Intellectual
[00:26:26] Property Law.
[00:26:31] Carlos Barral was a singular character, very sociable, who
[00:26:34] moved in a select circle of intellectuals, writers and
[00:26:37] poets. Jaime Gil de Biedma, Gabriel
[00:26:41] Ferrater, Ángel González, Caballero Bonald, Alfonso
[00:26:45] Costafreda, Josep Maria Castellet, Julio
[00:26:48] Einaudi, Jaime Salinas, Jorge
[00:26:51] Edwards, Mario Vargas Llosa, Julio
[00:26:54] Cortázar, Gabriel García Márquez, the
[00:26:57] Goytisolo brothers, Juan García Hortelano, Juan
[00:27:00] Marsé, Ana María Matute,
[00:27:03] Alfredo Bryce Echenique, Manuel Sacristán,
[00:27:06] Alberto Oliart and Joan Raventós were also his
[00:27:10] friends, frequent visitors to the summer house that Barral
[00:27:14] had in the fishing village of Calafell.
[00:27:19] of struggle against the cultural repression of Francoism,
[00:27:23] during which there was the conviction that culture would play
[00:27:26] an essential role in the construction of
[00:27:28] freedom.
[00:27:35] the cultured, sophisticated environment in which
[00:27:38] Barral and his friends moved, many of whom are no longer here to
[00:27:41] remember it.
[00:27:44] But we have found in the lively gaze and intelligent smile of his wife
[00:27:48] and inseparable companion, and good horticulturist, that of a
[00:27:52] past time that we would like to make present.
[00:27:55] With her, we visit, as every year, the sculptural ensemble that was erected in his
[00:27:59] memory on Vilaseca beach, in Tarragona.
[00:28:03] the editor, of the politician, of the singular
[00:28:06] character, of the man who by vocation wanted to be
[00:28:09] a poet. With her, we will sail in a boat that
[00:28:13] is a replica of his fishing boat, which was
[00:28:17] christened in Calafell with the name Carlos Barral.
[00:29:04] from the second half, I taught Barral and
[00:29:08] I believe I managed to spark my students' interest
[00:29:11] in Barral because Barral is very rewarding, it's like Góngora, once you've
[00:29:15] entered, once you understand it, you feel very
[00:29:18] intelligent yourself and in that sense, it is
[00:29:21] extraordinary and I think there are Barral poems that are
[00:29:24] truly definitive. A
[00:29:27] famous presentation that was made of our small group of Barcelona
[00:29:30] poets in Madrid, in the fifties, I think it was
[00:29:34] 1952, at the Ateneo de
[00:29:37] Madrid, the anthologist José Luis Cano defined us
[00:29:41] as industrial poets. This, that definition
[00:29:45] is profoundly ridiculous, but what Cano
[00:29:48] meant was that we were civil poets, in the sense that our
[00:29:52] poetry was a poetry of urban experience. I have
[00:29:55] always kept that memory
[00:29:59] alive, ah, of those years, they were years
[00:30:02] of great friendship, eh, there
[00:30:06] was the certainty that the regime would not last, that that
[00:30:10] anachronism was impossible, there was also the
[00:30:14] certainty that the change, the disappearance of the
[00:30:17] dictatorship, the democratization of Spain,
[00:30:21] would allow culture to play an
[00:30:25] absolutely primordial, neuralgic role in that
[00:30:29] transformation. Culture seemed to be
[00:30:33] the great instrument of change, not only political but
[00:30:36] also, eh,
[00:30:38] mental,
[00:30:41] eh, and that made the environment in which we lived
[00:30:45] in those years enormously