“Julian Assange represents Freedom Park”

Miria Ross He directs the play in March Assange. The power of information At the Gaudi Theater in Barcelona. The work includes the civil and political thought of the founder of WikiLeaks, Julian Assange, and eleven years of solitary confinement in the Ecuadorian embassy in London. In fact, the scenography is located inside the embassy. Ms. Ross tells us about her work in this interview, but before that we review her extensive CV and interesting career. child Lydia Sintez and Tamborero (1956), she was one of the kingdom's queens a statement In the Spanish transitional period, it was covered in magazines. He has since directed various films such as No muños (1997), TV movies like Now Pettus Zoo (2000), and documentaries about the bourgeoisie, e.g Barcelona before time erased it (2010). A self-taught, extremely lively woman born into a family of nine children, Ross has a tenderness that commands attention, and receives VilaWeb at the Gaudí Theater to talk about her life, her work and the admired character of Julian Assange.

—What did your mother do, Mrs. Tamborero?
Mrs. Josefa Tamborero was a housewife who gave birth to nine children. I'm talking about the last of the Mohicans. She was a wonderful person, and her biggest shock was not studying, and not being a nurse as she wanted. It was the joy of the house. My mother was so afraid one day that she went to the doctor to ask them to give her something to prevent her from getting pregnant. Well, the doctor threatened her. Those were dark times. I remember her with this desire to live and be happy. “I was happy because I wanted to,” he told me when he had Alzheimer's disease. When he was nine years old, he went to work in a factory making light bulb filaments. I remember my mother, Pepe, cleaning the dishes in the kitchen and shouting to the celebrant: “Pepe, sing El relicario!” The mother sings and the neighbors listen. It's a neighborhood thing. She was a self-made woman with a brutal, natural intelligence. A great reference, a very strong one, like the reference of my father, who was the quieter, more intellectual, more cultured person, more Peter Pan, and also more creative, more artistic. Our experience was very nice because our house was a house of ninety-seven square metres, where our parents and our new children (seven daughters and two sons) lived, but also our uncles, nephews and later our husbands and their boyfriends and girlfriends. In other words, it was an open house. Carrer de Castillejos, in front of Les Glòries.

—And what did your father do?
– My father was an electrical equipment representative and he also had the soul of a painter, he really loved to draw and would draw first.

—I made the film about Muñoz, a prominent figure from Barcelona. He says your mother goes there too.
-Yes. In the film, there's something I cut where the mother was talking more about herself, the survivor. For example, she says she would take a piece of cardboard, a piece of wood, and walk down the street pretending to go to school with a folder. La Monyos is a story told in two times: the first is Monyos' gift as an adult, where this girl, Pepi (who was my mother when she was young), explains that she met her. The mother is the one who told us the story of Munius when we were young, between spoons, to the new children. He would tell us stories, laugh with us, and cry with us. The story of Munius was engraved in my mind.

—I read that you don't deny your time a statementWhen I did nude covers. And that you have a project on this topic.
-The idea is an explanation a statementBut it was narrated by the women who starred in it. One of them ended up becoming director of Banco Sabadell de Suysa, Sylvia Aguilar. Maria Rosaria Omaggio, who made Lush Andalusian (Two cents on the billboard), she is a highly intellectually recognized woman and the only one authorized to publish the writings of Italian journalist Oriana Fallaci. It directs business. You have made a very interesting development. After that, Eva Libertin also created a development within he moved MadridAnd now he's become a little shaman. Susana Estrada, the most comprehensive of all, and me. The idea of ​​the film is to talk about how we lived it and how we see it now, with distance. And to demystify a little that nudity for women was a revolutionary act of vindication and freedom. See, it was actually a business. During this period, everyone became wealthy except us. That was the Zeta Empire, you must have heard about it. But we didn't charge anything for those covers or those photos.

—Excuse me, were you showing your chest on the cover and not getting paid?
– Nothing, you will tell me, why did you do that? And that's what I want to talk about and I'm not going to tell you because if I don't, I'll crush the film I want to make.

—How old were you at that time?
– Nineteen and a half. I've just returned from London, where I was working as a babysitter.

—And why do you charge for movies too?
– Yes, movies do that. Turns out I didn't do that much. for me a statement It's more than a magazine. First we did topless Nineteen years old somewhere in Girona. It was a very good show. He was the choreographer of Crazy Horse in Barcelona. I don't know if you published the first lib magazine…

—And in the cinema I didAlice in Wonderland, It is a symbol. Is he saying it's the first anti-Franco film?
– It can't be done now because there is a return to a new, very strange and dark morality.

—And with the moral left.
-I no longer know where the left or the right is. As one protester wrote: “Where is the left? In the background on the right.”

—Let's move on to Julian Assange. You are now directing a play.
—Unfortunately, I'm glad I was offered this assignment because I'm very concerned about what's happening not only to Julian, but also what's happening to us and what the planet is experiencing right now. Seeing his situation brings me to a very brutal place. I cannot understand that in the 21st century a country is supposed to be a model of democracy [els EUA] In collusion with another country that is supposed to be practically the fathers of democracy [el Regne Unit] With constitutions that defend freedom of information and human rights, this person should be imprisoned without charges. I find it very sad.

—The work consists of four letters.
—And the collaboration between Marsal Cruz, who designed all the videos, and Jordi Canora, who did this minimal scenography, and with a great team, starting with the actors. Great Actors The characters are Julian Assange, a diplomat from Ecuador, the Man in Black, a robot, and a clown who appears in a nightmare. People who come to see the play will see a story that will educate them, make them think, and maybe even react. Julian Assange's work expresses not only his civic and political thought (I would say it represents 70% of the work), but also the most human part. It is that we are moving away from our true essence, which is humanity. Everything else is cheating. Julian Assange represents Freedom Park. The one who not only reveals it, but also suggests the reaction to all of this. For me, Assange is the first hero of this century. I compare him to Nelson Mandela, but someone gave me a more content and profound image: he is the Giordano Bruno of this century. He suggests that you realize that they want to take us to a place that is not our place, but the place of the economic and capitalist interests of the minority.

—As a journalist, I admire him.
-There is a paradigm shift. There is a stark paradigm shift. The impunity is so great that we are swallowing genocide in Gaza. And they make us partners. They are moving to the banality of evil, with the war in Ukraine as well. They want to liquidate you, journalists. The information can be just what suits them.

—Julian Assange is the author of that wonderful sentence: “The Catalan question will determine the future. If the Catalans win, we are heading towards a more open and democratic world, and if they lose, we are heading towards a reactionary moment,” he said in 2017. And he succeeded.
– Yes, yes, he succeeded. When you see the work you see it reflected. The way Catalonia organized itself was a lesson to the world. And besides, the lesson, according to whom, is dangerous. Community can be organized. You just have to have the will and desire.

—Do you want to say something I didn't ask you to say?
-I don't want to get into defeatism. I would like to have a strong sense of hope, that eventually there will be a reaction that stops all of this. I don't know, I would say many things. I would say that the political class is very humble. I would say I don't understand how people can fight over Trump or Biden, who are unrepresentable. I would like to say how can governments not become strong in the face of the genocide of this son of Satan. I don't even want to say his name because he doesn't deserve it. I can't understand Julian being where he is. I cannot understand that these sons of Satan are the authority of the system. Let's wave at the criminals. They are criminals. Everything that was done in Libya, everything that was done in the Middle East, everything that was done in Afghanistan, in Iraq, everything that is being done now, with such impunity… Are we sick as a society?