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Fran Perea

(Málaga, 1978) remains faithful to his mantra that

nothing makes him feel more comfortable than "change"


Therefore, it was unlikely that this actor, musician, director and businessman would be caught by the storm Filomena at home.

"It was crazy. He caught me coming back from Seville and Malaga. Just the 8th, the day of the super blizzard and snowfall. I arrived in Madrid late, I couldn't go home in any way ... A very crazy thing" , explains the artist from Malaga, who, after making his debut in theatrical direction in 2017 with


, seems to have gotten a taste for it.

Thus, after being at the forefront of

When you least expect them


Middle of the World

, he premiered in the #TeatroConfinado de La Abadía initiative on January 27 with




a "future drama"

about a man who has no resources of his own life before Covid 19.

'The last ones' is presented as a play for "the houses that serve as new theaters."

Doesn't such a dystopian concept make you dizzy? Well, it's almost a necessity.

It didn't come about of its own accord [laughs].

In the end when these things arise it is because the present is asking for it in some way.

Demand it.

And in this case, the capacity is reduced.

But the people who dedicate ourselves to the theater want to continue telling stories.

How do we do it?

Well, getting into people's houses.

In this case, through a Zoom ... But it could be otherwise as well.The play deals with a subject that scares many parents: that of children who are being educated in a world where hugs are looked upon with resentment , human contact ... Carlos Zamarriego, the author of the work, proposes the generation of those born in 2020. And he wonders what happened to them when 30-odd years have passed.

We imagine a possible reality that I hope is very far from what happens!

Because we meet a character who lives life in a very different way from ours, alone.

He has to invent himself practically every day, and try to live alone and that does not end with him. How do you direct a play of "confined theater"? First we did a test with Ángel Velasco, the protagonist.

For me there are two lines of work: one, the well-known one, that is, putting yourself with the peak and shovel text to work on it, to see the meaning of what is being said at all times, the different planes, the depth of the text, the comedy in some cases, the character.

And then the other is the format.

In this case, our character communicates (or leaves a living will) on a mobile.

That is what the public is going to see.

Technically it requires working with a mobile all the time.

The telephone is one more character.

It is something different, fun, you have to take creativity to other places that are not where you usually do it.

But interesting things come out in the process.

Does the methodology change? I work hand in hand with Ángel.

Marina Calvo, in charge of art, is not in Spain right now, so we met through Zoom.

Between all of us we are building the story a bit.

We also talk with Carlos: he reviews the material, he updates it.

The truth is that it is beautiful, interesting, we tell stories ... We are very excited. Do you consider that the theater has adapted to the circumstances better than other guilds? I think that in general the culture sector has had a commendable reaction capacity .

It would be nice if our institutions were at the level of the sector.

Or from the creators.

And of the businessmen.

Because it is a sector that has implemented security measures super fast, with a seriousness worthy of praise.

At least for my part, go.

It has been seen with the reduction of capacity, with the search that the theatrical and cultural experience can continue to be present for the spectators.

And then, aside, new ways of reaching the public have emerged, such as this

confined theater

proposal by

La Abadía, an example of a reference theater that reacts and gives creators the opportunity to continue doing things.

There is no worse punishment for a creator than not being able to do his job. You commented in the recent presentation of your album 'Songs to save me' that culture has prevented the daily drink from being worse in this pandemic ... In the end we are all day talking about the political confrontation, who does it well, who does it badly, whether vaccines are being given or not ... We are obsessed with politics.

And with protection in terms of masks, to wash our hands ... which I think is very good.

But we are leaving aside the protection of emotions and other things that are absolutely necessary.

And I believe that the culture has been up to the task, and the creators, who have quickly turned to offering content, in seeking their lives so that it reaches people, so that the engine continues to run.

The other day I read an article by Bárbara Alpuente that quoted a phrase from Churchill, from when they told her "we withdraw the Culture budget for weapons."

And he answered them "If we don't have culture, why do we fight? What do we defend?"

The cultural sector has shown the muscle and its ability to make its events safe. Was someone knowledgeable in new technologies or did they have to catch up? It gave me a little, but not much.

I'm learning.

It is not our usual medium.

Our generation has adapted to new technologies but we were not born with it like other people who have much more capacity to relate and use them.

But I make an effort to keep up.

With music, as soon as I could, I have been doing a



, entering that wonderful world ... Then there is the subject of videoconferences and others.

I have also taught at a virtual music campus.

Things that you are not used to but that you have to do, because new technologies are here to stay.

We are experiencing a revolution in terms of live formats and technologies.

We have already experienced a few in terms of formats: from cassette to CD, then to digital platforms ... And now there is a new revolution in terms of direct expression, with new forms and formats.

It is also nice to be able to live this revolution. Let's see how we adapt, if we can survive!

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