La Frontera 740 || Tomás Barrios 🎸

(upbeat music) Intuition, interpret, sing, piano, consumer of theater, through generations, incidental music, philosophy, since we are, docency, guitar, leucemia, laboratory, major domes, Chris Morena, theater studio, polyphony. (upbeat music) - We are on the border, here in the air of Radio Universidad, in M1390, towards the province of Buenos Aires. We are also all over the world through the web, on the www.radioniversidad.unlp.edu.ar, because we feel the radio, each of our talks, you can also find it on Spotify, there you put the university border, and you find different talks, with musicians, with actors, with directors, with dramaturgos, with sportsmen, with different offices. In this case, I would greet Tomás Barrios, with a shooter, with an excuse to speak of Fiumichino, a work that we have already recommended, we have invited, we have joined in it, not long ago, talking to his director, with María Pascual, we are going to talk to Tomás Barrios, who put the music to this work, close the door, to talk to him, because there are some functions in October, Sunday, 5/12 and 19 of October, there in WT, in WT is a very beautiful place, to enjoy in the city of La Plata, in this case it will be Fiumichino, so I greet Tomás before doing an intro, such a long introduction, there WT in 34/27/28, I wanted to say that it is an important data, and also he is going to tell us, Tomás, how do we do the entrance, by theatrical alternative, there I said it, Tomás, how are you, Damien, in the University of Augusto? Hi Damien, how are you? All good? Well, sorry for the extension of the introduction, but I like to reiterate where they are, that the final reason is that they are going to see the WT, it is a very beautiful place. Exactly, we are going to be open in October, so thank you for the introduction, and so that people can also find out, you already have all the data. Well, tell us, because it is a theatrical proposal, that it has, now let's get into it, that it has many nominations to the UGO awards, today when I spoke with Juancito Camiletti, a phenomenon that has been a lot, that we are always in contact with, for different works that arrive in the city, for different proposals, and he told me that, he told me, don't forget to highlight this, and so I already mark it in the beginning, so if you want, let's start with the issue of nominations, but also for the proposal, a few months ago I spoke with the director, but tell us about the proposal, and also from a different look, which is a theatrical work, and you are going to talk about the music of that time of theater. Exactly, that's right. Well, yes, filmichino is, that's a musical, a musical that for me is what is more novel, is that it is told in two temporal lines, let's say, right? On the one hand, you have the story of Julia, who is the protagonist, who crosses a loving triangle between her current partner, Marcos, and a new person who appears in her life, and Julia discovers in her story, and in the story of her ancestors, an arraigned belief, and which also forms part of the social story, about love, right? And how she crosses it, and crosses its way of feeling, and how we can get rid of those beliefs that maybe we don't believe in so much. Filmichino has two stories at the same time, I think that's, theoretically, the device is very innovative. When we talk about this, about the nominations, it seems to me that it can also be because of that, because it is a work that is very agile, which is very difficult, it is a very difficult work to rehearse, very difficult to direct, or to talk very difficult about composing musically, and yet the viewer does not stay out, which seems to me to be something very important, because the viewer can assimilate all that information without losing anything and staying with an image in total, which is the one that the director wants, and the one that at the end of the day ends up exciting you as a viewer. Well, the director Maria told us a few months ago, Filmichino, if I'm not mistaken, I didn't look for it, really, because there are things that I prefer to immerse myself in the talk, it has to do with the name of a bar in the city of La Plata, or not? Yes, exactly. It was a bar from La Plata in the 70s and 80s, which was located in Calle 49, between 7 and 8, next to the cinema, where the corner of La Parise is, and it is indeed a bar that was very emblematic here in La Plata, it was a meeting point for many people, and the work takes place, well, one of the temporary lines of the work, takes place entirely in that bar. Well, you know what, if I take a look at one of the windows that we had in Radio Universidad since 2019, we are in the Caracas Choc building, in 48, between 6 and 7, almost if I take a look, I can find myself with the filmichino spirit, we are in the same area, before we were a little further away in Plaza Rocha, but it has to do with this area, I tell Tomás Barrios, who is one of the authors of the filmichino music, he comes on three Sundays of October, that you are going to enjoy this work, this musical, Domingos 5, 12 and 19, in "Doblete", where is "Doblete"? 34, 27 and 28, right hand, if I'm not mistaken, when I'm going to see some shows, I think I saw "Falu", I saw "The Ridiculous", "Invitae", this is a very interesting space, here in the capital of the province of Buenos Aires, I was just telling Tomás, it's hard to approach the different artists of this work, and it's also hard to compose, how was that process, until you arrived at the musicality that filmichino has? Well, filmichino starts in the musical theater laboratory, of the DG Art, which was guided by Emiliano Dionisi, Fernando Albinarrate and Barbillo Strozky, and Fernando Albinarrate guided us in what was the composition of the music, I remember that the first exercise that he proposed to us, to bring us closer to the sound of the musical, was to create a kind of sound universe, and to recoup textures, harmonies, melodies, that make us think about the work. We, together with Gonzalo Fantoni, who is another composer of the work, we are Elisio, we started to recoup material, and then I say that it is difficult to compose, because when you have two planes in the work, you always have to be generating a musicality, that can make those two planes dialogue, even when the characters may feel in different ways. So there has to be a same song, that brings together all the experiences of the characters who integrate it. That is very difficult, filmichino, also musically, we work a lot on the polyphony, that is, the simultaneity of voices in a song. It seems to us that filmichino is a work that is very plural, that is, that two things happen at the same time, it talks about this, about a lot of information, and music also respects that code. So all the time you are going to hear two superimposed lines, at one point we have the eight characters singing different things, and if the audience makes an effort, they can capture that information in each one. That was very difficult, it was a work of clockwork, to make each character sing what they felt, what they had to sing, and that in turn everything conforms to a unique image. Good, good, and what else? I also asked this to María a few months ago, we are talking about filmichino with Tomás Barrios, who is together with Gonzalo Fantoni, they put the filmichino music, that you are going to be able to enjoy the next Sundays of October 5, 12 and 19, in double T, taking the entrances for the theatrical alternative, there are thirty-four, twenty-seven and twenty-eight. I was looking for, maybe twenty-thirty, the functions of the Sunday? Yes, twenty-four, I don't remember, but... Yes, yes, yes, here I have it, here I have it. On your Instagram, which I also take advantage of, before asking you, here I have it, your Instagram is fiumichino.obra, fiumichino double C, that's why I call it fiumichino, fiumichino with double C, dot obra, there you find everything that has to do with the work. Well, I was asking you what was coming back from the audience during and after, what was left, and they tell you, they made me remember this, they interrupted me for the other, they moved me for this. People come out very moved, it is a story that also seems to me that crosses generations, the young audience interprets it a lot, they are, well, fiumichino talks about relationships outside of the monogamy, the young audience that suddenly finds other forms of meaning, or that is looking to live in another way of love, interprets it from that side, and perhaps bigger generations interpret the story of the family secret a lot. We come from generations very marked by the things that come out, the things that are not said, and fiumichino is essentially a story of family secrets, and that is what also crosses the protagonist, beyond the non-monogamous forms of connecting. I have other comments that make me very good as a person who consumes musicals, many of the audience who perhaps are not so passionate about musicals, tells us that it is the first musical that I like, and that is not free, it is a fruit of a lot of work, and of new poetics of the musical that move away from what is most spectacular, to what one associates with the musical at first sight, and seeks a more organic way of entering the languages, of entering the music, of entering another quality of movement, that is not the most natural quality, and it seems to me that this evolution is super gratifying. How long ago did fiumichino be born and crystallized? Because you usually appear, you do some functions, and now they will be in double T, but we could find it at another time, if I'm not mistaken, in the theater studio, and they are appearing. How long ago did fiumichino Tomás be born? Well, yes, that's right, fiumichino begins to write, if I'm not mistaken, before the pandemic, and has its first point of making itself real in the musical theater laboratory that I was talking about today, that was in the year 2022. We went through all that process that was creative, and then we got into the directing and editing process for December 2022, and for February 2023, we were in the FIBA, in the International Festival of Buenos Aires. After that, we continued rehearsing, we continued adjusting some things, and we went back to the theater studio, we did the premiere here on the platform, we did two seasons in the theater studio, and now we would go back to double T. But it was a process of several years in which the work is also growing, the actors are finding new things, in fact, the audience that saw it last year can now go and find new stages, this is a work that is being powered all the time. I'm going to ask the same thing to the actors, with the theme of appropriation of physical space, one thing is to do a work with a theater that has a lot of background, another thing is to appropriate yourself, theater, we can do it in a corner, right? Theater, the theatricality. From the music, did it change a lot for you too? Or not, changing from theater studio to double T, although they still didn't do it, and it didn't even arrive on October 5. But the sound, the acoustic theme also changes a lot for you. I still don't know, I hope it will be a test of the environment, what I do up there on stage. Yes, sometimes it changes a lot, for example, I play live, right? I play live and I also make an incidental music in the scenes. So I have all the time to be in touch with the actors, with the actresses, to follow their times, their rhythms, their cadences. There I happened, for example, that in theater studios, I remember that it is located in a part of the stage, so my point of view of the work was one, in the rehearsals it was located on the other side and my point of view was another, and I had more affinity or I connected more with other parts of the work. So yes, it is a work that is going to be mutated according to the space, but also according to the moment, the function, what happens that day, what the actors do that day, the music will also be interpreted for that. We are talking with Tomás Barrios, he is one of the actors of the music of Fiumi Chino, this musical that has seven nominations to the Hugo Federales awards, and that you are going to be able to enjoy the next Sundays of October 5, 12 and 19, 20/30, double T, the entries for Alternativa Teatral in 34, 27 and 28. Tomás, I take a second from Fiumi Chino, I consult you about what is always attractive to know, when we talk to someone, is where his bond with the office is born, that develops that initial moment, if you can discover it. At 8, because there was a piano at home, or a guitar at 10, because the teacher said, "You have to do it at San Martín in school," or a teacher of literature at 12, I mean, you read a story and from then on you became an artist in the artistic world. Do you like that moment? Yes, well, my childhood, I don't have a family of artists, at least not my direct family, I don't have artists, but there was a lot of theater consumption, I remember that my mom used to take us to see the show of Chris Morena, I remember that at the time I was four, five years old, when I went to the Grand Rex and I saw all that world and I was fascinated, the theater and the power to make the audience enter in another time, in another story, that they suspended for a moment, it seemed totally magical to me. Then when I grow up, I start studying with María Pascual and Facundo Vélez, who today we are part of the same team, but they, at my age of eight, they started giving me classes on musical comedy and there I entered the musical world of theater and music, first from the singing and later, at my 13 years, more or less, I had my first contact with the piano, with finding myself and my musical ideas. I started music from a non-formal side, but from the game, that's something that I always appreciate, that I first entered playing the instrument and then I started to name it and theoretical knowledge about that, that I had already discovered intuitively. So it seems to me that that allowed me on the instrument a flexibility and something playful that interests me not to lose and that is present in Fiumichino, this that each function is different and that there are things that are not always fixed, but that start from improvisation, it seems to me that it is part of my spirit and how I understand music. Do you always take the link with theater through music? Or at this time, in addition, do you take some kind of theater, or at some point do you plan to develop it? Or is it always theater but putting you on the musical side? I think my path was inverse, in fact, I always thought of myself as an interpreter, I never thought of myself as a composer and my training was oriented towards that place, but later I started to find the taste of being behind the piano and having these moments of intimacy where I create the music, where I think of melodies, where I think of the themes, the leis motifs and the collective part of later putting that on stage and seeing what happens to the other with that song, or what comes back to you, that to me today enriches me a lot, I do not lose my interpreter side, I have my training, but today I am very happy with my role as a composer. Well, Tomás, today we meet with the music of Fiumichino professionally, what else do you have this last time that is left to this 2020-25? Because Tomás told me that I am on the Sunday of October with Fiumichino, but also the Thursdays are here, the Tuesdays are here, I give classes here, what else do you have this September-October and here at the end of the year? Well, now we are with Fiumichino in October, I am giving musical theater classes, in the Academy of Art and Scenic, Acay, you can follow us in Arroba ya que estamos, and also I am with many projects that are in a stage of creation, we are with a new infantile of the group ya que estamos, in which we are participating in the musical theater laboratory again, but this time with a musical intended for children, we are with Mayor Domos, who is also a work of the group, who was the winner of the CENATEM, we are also working on the composition of the themes, so I am in many projects that are in its creative stage, we hope that the year that comes they start to release them, yes, yes, composing a lot, I am a lot in the piano. Well, that is music and theater, there is music, I do not know how to say it, in a more traditional way, to get a record or to upload songs to Spotify, I do not know how it is said if it goes on two different paths, here yes, because there is a text and it is music for theater, there is music and you have a band, in addition. For now, no, my link is directly being made in making music for theater, which does not mean that they cannot even find it later on Spotify and songs from Fimichino, I am just a very particular consumer and I am one of the people who listen to musicals in the car, I understand that many people do not, but well, perhaps someone who is also recognized in this position can listen to Fimichino in his car, well, now in the end, then if it is and if you want, we can listen to some piece to finish this talk, if you want, I do not know if you can sing. I do not know Spotify, but I can share some song. Well, give it, give it, give it, if you send it to me, we add it to POSPRO and it is very good, you know what, before I ask you the final question, tell me a little that your family is not a family of artists, but the playful and the piano theme appeared and from there you got into this universe, if at some point the artist you are, had competed against someone in a little context or a little by self-imposition, that you tested and studied, I do not know, two years of engineering or some sport, did that happen or was the theatrical musical world always? I always had it assumed, I knew that my life was going to go this way, when I finished secondary school, I got into philosophy, I always liked to think a lot, things and learn to argue, to debate, to contrast ideas, I did a year of the philosophy career and I realized that my life passed on the other side, suddenly I had to take out time for the piano to study or to give a final and I said, well, no, what I am doing every day is another thing and there I went from full to music and today I dedicate myself to this and I become in this, I become perhaps not in a career, today I am not in a particular career, but yes, particular information and acquiring all the time new knowledge. Well, Tomás, here we always close the talks playing with the name of our guest, Tomás Barrios, I tell him to put the music "Fiumicino" that you on the Sunday of October will be able to enjoy in double T, this musical at 20.30 taking the entrance through the theatrical theatre. If you can find a moment on the border in your lives that is not referred to a geographical place, but a visagra, rupturist moment that can be professional or personal, a coffee with someone, a love, a trip, a health situation, some composition, some work, can you choose a moment on the border in your life? Yes, well, it's a little personal moment, but I share it with my 10 years old, I had a disease, I had leukemia, I was complicated for a few months and I remember that in the hospital room, today I am recovered, that also clarifies it, totally healthy, but I remember that in the hospital room, I had a guitar and I asked for a piano and I remember that I sang, that I liked to sing, that the music distracted me, that made me think about other things and it was also something that I shared and I sang to the people who were going to visit me and I think that if you think about a moment on the border, it is that and it is very, very marked, I think that if I said another moment on the border, I would be evading it, but that at that moment you have been in the present music, it seems to me that today it makes me think about the role that music occupies in my life. Impressive, the landscape you showed us and how old are you now, Tomás? How old are you? 22 years old. Of course, I am young when you say 10, but look at you and well, I feel that I am talking to Ironman because I surpassed him with music, so it is great, thank you for sharing it, look, at that moment the music was present there with you. That's right, so far. The talk with Tomás Barrios that makes music for Fiumicino live, because I was talking about it in the past, it is an opera, it is written, the music, but it makes live music for Fiumicino, 5, 12 and 19 are three Sundays of October in WT 34, 27 and 28 at 8 and a half o'clock at night, taking out the entries for the theatrical alternative. Tomás, thank you for this time, for sharing these moments and now I wait for the song, so when we close the talk, look, what a speed, you know, it was recorded, but by WhatsApp it takes me, it takes me to the song, so I was trying to ask you for that, Tomás, thank you for this time, the best in the presentation of Fiumicino in October and everything that comes. Thank you very much, thank you very much, bye bye. (singing in foreign language) (singing in foreign language) (singing in foreign language) . (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (singing in foreign language) (speaking in foreign language) (speaking in foreign language) (singing in foreign language)