Telenovelas Online

When this blog turned six months old, I made the resolution to change its visual look. It's taken me almost six more months to do it since it isn't easy for me to find time for such a task. Finally, it's done! (Hence my wide smile as I look at my computer's screen). And it was possible thanks to the amazing help of my friend dRAGOONS. If you can read Spanish, I recommend you visit his blog, Utópico Real, where you will get to know this bioanalysis student, who moderates the Internet message board TVVI, and who has a real talent for visual communication.

The change in the blog's look comes at the same time as I arrive back to Athens after two intense weeks of research in Caracas, where I documented the current state of the telenovela industry, ten months after the closing of RCTV and its transformation into RCTV Internacional. I still have much analysis to do, but the panorama isn't particularly sunny for actors, writers and the Venezuelan public. Both RCTV Internacional and Venevisión have shifted gears and now privilege the international market over the local one. This will probably mean more remakes of old telenovelas and more telenovelas that follow the traditional model of the telenovela rosa. It isn't a good time for creativity and talent. In addition, the work sources for actors have significantly dried up.

This trip also included several media interviews about my book Venezuela es una Telenovela. It's always both surreal and fascinating for me to talk about my book. Interviews usually center in either or both aspects of my research: telenovelas and Venezuela.

There was an element of serendipity in my visit to my birth city. Two events coincided with my stay. I've commented already about the first one: the premiere of Caramelo e Chocolate, the first telenovela broadcast by government network TVES.

This week the telenovela world lost one of its giants: Brazilian actor Rubens de Falco.

Rubens de Falco (1931-2008) had a long and fruitful career both in TV (La Sucesora, Los Inmigrantes, Gabriela, Pacto de Sangre, etc.) and film (Pixote and the legendary Venezuelan film Macho y Hembra, among others). However, he will always be remembered as Leoncio, the villain in the first version of La Esclava Isaura. Coincidentally, one of de Falco's last roles was that of Comendador Almeida, Leoncio's father in the recente remake of La Esclava Isaura. I'm not sure but this could be the only case in the telenovela world in which the same actor plays son and father in two versions of the same telenovela.

Rubens De Falco will be missed. He was one of the most recognized faces and talents of Brazilian telenovelas throughout the world.

Here is his obituary as it appeared in the International Herald Tribune.

Below a video of episode 21 of the first version of La Esclava Isaura:

The telenovela genre is plagued with paradoxes. Their main paradox is that these shows are both consumed and despised by millions around the world.

One of the consequences of this paradox is that actors who work on telenovelas are sometimes considered second class by those who despise telenovelas. Hence, actors live their own paradox: telenovelas give them a level of recognition that is unsurpassed by film and theater (especially in countries, like Venezuela, in which these cultural industries aren't well developed), but their talent is doubted precisely because they work in telenovelas.

This is one of the reasons why I think it's important to see actors perform in film and theater. I enjoy very much having the opportunity of watching actors who work on television when they perform in the theater. The energy that is established in the triad actor-character-audience is unique. It's a completely different experience to see an actor perform live than to watch him or her in our television screen. It's also different from watching them shoot a telenovela.

Below are a series of links to photographer Nicola Rocco's blog Photomanifiesto, where you will be able to appreciate excellent pictures taken of recent theatrical performances by actors who also work in telenovelas. I hope you will enjoy them, and I wish that, wherever you are, yo get the chance to see your favorite actors perform live.

Julie Restifo and Javier Vidal in Tal Para Cual: 1, 2, 3

Marialejandra Martín and Elsa Stella in Ladrona de Almas: 1, 2

Mimí Lazo, Luis Fernández and Marcos Moreno in Golpes a mi Puerta: 1, 2, 3

Carlos Montilla and Karl Hoffman in Entiendeme tú a mí: 1, 2, 3, 4

Nacho Huett in La Celestina

María Cristina Lozada, Iván Tamayo and Marisa Román in El Día Que Me Quieras

Nohely Arteaga and Andreína Alvarez in Locas, Trasnochadas y Melancólicas.

Elba Escobar and Beatriz Vasquez in La Duda

Caridad Canelón and Carlota Sosa in the reading of Dos Soledades en Buenos Aires

Tania Sarabia in Ay Carmela!

Carlos Cruz and Juan Manuel Montesinos in Todos los Hombres son Mortales

Fabiola Colmenares, Beatriz Valdés, Lourdes Valera and Marisa Román in Y las Mujeres También

Maybe the question that I've answered more times here in the U.S. is about the differences between soap operas and telenovelas. Until recently, it was unavoidable to begin my conference presentations by briefly explaining the similarities and differences between these shows.

In my telenovelas class I've also had to explain the different aspects of telenovelas by comparing them with soap operas, which are well known here in the U.S. I like watching people's faces when I explain that telenovelas have a finite number of episodes and an end. My U.S. interlocutors find this very strange.

Recently, however, I had the opposite experience: to define the soap opera before an audience that only knows telenovelas. For me, a Venezuelan in the U.S. academe who's used to having to "explain" her culture using comparisons and contrasts with the U.S. culture, it was fascinating to go through the inverse process. I discovered that for those who have grown watching and knowing telenovelas, the soap opera, with its unlimited number of episodes, is quite "exotic."

Following is the first of two installments of my version of the similarities and differences between telenovelas and soap operas.

Both telenovelas and soap operas are serial melodramatic genres pitched to popular audiences. In both emotions provide the basis of the spectacle. Also, both are broadcast daily during the week. They aren't governed by the "seasons" system like sitcoms and series are. Both have multiple trade publications, discussion boards, blogs and websites dedicated to them. More importantly, these genres share the paradox of being successful and disdained at the same time.

Nonetheless, there are important differences between them:

- Telenovelas have a finite number of episodes. Therefore, the audience expects a conclusion. The soap opera is designed without an end. For instance, General Hospital has been on the air, without interruption every day at 3 p.m. (ET) since 1963.

- Telenovelas are broadcast both in the afternoon block and in prime time. Soap operas are broadcast in the networks only in the afternoon block. Hence, telenovela audiences are comprised of women and men of all socioeconomic leveles, ages and occupations. While the soap opera audience is still mainly comprised of women who work at home. (For those who want to watch soap operas at night, there is a cabel channel that broadcasts them throughout the night).

-Telenovelas determine the "star system" in Latin America (see a related post). In the U.S. most soap opera actors are perceived as "second class" performers.

-In consequence, most of the Latin American actors that have made it to Hollywood come from the telenovela industry. In contrast, it's a rare event that a soap opera actor transitions well to Hollywood. (A few important exceptions are: Meg Ryan (As the World Turns), Mark Hamill (General Hospital), Demi Moore (General Hospital).





TO BE CONTINUED...

A few weeks ago the students in my Telenovelas class turned in one of their assignments: to write an introspective essay about any (or several) of the aspects of the production of Venezuelan telenovelas that we have studied in class. In other words, I wanted them to reflect on telenovela production from a very personal perspective.

I have enjoyed going behind the scenes of Venezuelan production as it has given me immense insight into the world of telenovela creation. Each aspect of production holds its appropriate place in the successful execution of the show. I realize that without the careful attention to detail and collaboration of each group, the telenovela would suffer. Each member of production, from the writer to the actors to the production assistants, is essential in the success of the telenovela (Jackie).

When you view an episode of a telenovela, you are witnessing a small miracle. Before taking this class, I never could have fathomed the complexity and rapidity of a single episode’s production (Amanda).

I am so impressed with everyone in this process’ ability to work under pressure, especially with the actors being able to memorize their lines in only a few hours. I loved hearing the stories about the actors hiding their scripts seconds before “Cinco y acción!”. I was astonished to hear how close some novelas are written to their actual air time. I would not be able to work under that kind of stress! (Alli)

Producers are faced with a difficult task that has potential to create tensions with actors as well. They must know where to draw the line between being a compassionate leader and a strong leader. Being a strong leader without any compassion can lead to a power hungry producer who misplaces their priorities and leading skills. However, being overly compassionate can result in the individual being walked all over and underproductive (Megan).

I found it very interesting to learn about the process by which actors are notified of their taping schedule because scenes are so rarely taped in their final order. As a consumer and someone who sees a telenovela only in its final form with scenes placed in their correct order, it was difficult for me to imagine taping them out of order for the sake of convenience. Learning about the roles of the script as well as the importance of the “pauta” also really amazed me. I had no idea that the sheer taping of a show could be so complicated. Prior to this class, I thought that most programs were taped in order on a set, which seemed much easier than the actual process of bringing certain actors together at very specific times to tape an array of varying scenes, all with the same props, make-up and accessories to ensure that the coinciding scenes are cohesive. To be honest, I felt very overwhelmed when learning about all of the necessary actions that are taken to make sure that each scene comes together as it is mapped out by the writing team. (Jessica)

*The writers' limitations regarding the final product:

I understand now that the director’s interpretation is incredibly important. He, or she, has, in some instances, more power than the writer because if he interprets one scene differently than the writer, the whole feeling of the episode could change. (Alli)

There are often times discrepancies in how a character was written to be portrayed and how a character is played out on screen. The ideas held by the writer do not always match up with the actor’s ideas or style of acting. At times ideas can be tossed around without causing tension, but sometimes a party may become defensive about suggestions or criticism (Megan).

From the perspective of the writer, does an understanding of the process trump what he or she wants? Where do you draw the line between the product and the art form? I think it is sad that writers have to tip-toe around what network executives and government regulations want. But I guess that is just one of the prices that a television writer must pay. Making a telenovela requires the work and vision of many people, so it is impossible for the original idea to be untainted. But I think that the writers should try to be as involved as possible in the production process to ensure that their stories and ideas are not watered down and to maintain the integrity of their original ideas. (Tia)

I should mention also that the students' essays touched on other topics such as the importance of music in a telenovela, the production of special effects within a low budget and the importance given to actoral credits in a telenovela. Their writings reflected what I've learned by now: what happens behind the scenes is as interesting and fascinating as what we see happening on the television screen.


(Photos taken during the production of telenovela Ciudad Bendita)

Yesterday we closed our conversations with people who work in telenovelas in grand style. Talented actress Julie Restifo visited my class via telephone. Julie's CV includes more than 20 telenovelas, several series and unitarios, 36 works on the theatre stage and 13 films.

Two of her most remembered roles in telenovelas are:

Josefa "Pepa" Lunar in Viva la Pepa, written by Valentina Párraga:



and Joaquina Leal "Juaca" in La Mujer de Judas, written by Martín Hahn:



Our conversation with Julie centered on the following topics:

1.- The importance that writers have for actors. For her, a good character is one that is well written, a person who has something to say, one that has nuances and interior life.

2.- How she has been able to balance her roles as mother, spouse and actor.



3.- How wonderful it's been for her that her husband, Javier Vidal, is also an actor (and director, writer, professor). It was touching to hear Julie talk about how they have grown together as they've harmonized their professions and lives.

4.- Her satisfaction regarding the opportunities she's received throughout her career. Julie is sure that if she got to live her life again, she would still be an actress.



5.- The importance of beauty and physical appearance for television actresses. In particular the issue of age. Actresses not only have to look good, but they also must be eternally young. Julie told us that the first time she had to personify an grandmother on television, she was only 29 years old!! She feels that Venezuelan TV has improved a bit regarding this, but also believes that there's a need for more authors who write good characters for women who are 40-50 years old. She mentioned how in Brazil, writers consider actresses in this age range as key to what they're writing. These women are considered stars. Meanwhile in Venezuela, we have in Leonardo Padrón sort of an exception, since he usually writes characters for actors of all ages, and he particularly writes for actresses that are in their 40s and 50s.



The conversation with Julie was deep, sincere and touching. It was a great way to close our series of exchanges with people who work in the telenovela industry. To all of them--Marisa Román, Daniela Bascopé, Leonardo Padrón and Julie Restifo--our genuine gratitude for contributing in a special way to our learning about the fascinating telenovela genre and its insertion in culture and society..

The semester's end is fast approaching and there are only two weeks left in my Telenovelas class. Yesterday we had a special guest via phone: talented actor, director and writer, Daniela Bascopé, who shared with us her time and experiences.

A few weeks ago, Daniela received the Best Actress Award in the Venezuelan Film Festival in Mérida for her role in film Al Borde de la Línea:



Below, a list of the telenovelas in which she has appeared and the names of her characters:

Ciudad Bendita (2007)- Fedora
El Amor las vuelve Locas (2006)- Rosaura
Engañada (2003)-Gabriela
La Soberana (2002)- Cherry
Toda Mujer (1999)- Elízabeth
Samantha (1998)-Anabella

Daniela talked to us about the hardest character she ever played (was in film), how her acting experience is a great asset for her work as director, and the way real life inspires the films she writes and directs.

When we asked her if, as an actress, she felt any difference between working in a telenovela "rosa" (most of the telenovelas she's worked in are "rosa") or in a more "verista" telenovela (like Ciudad Bendita), Daniela explained that in the traditional telenovela rosa, a character's lines are more farfetched and less realist than in telenovelas like the ones Leonardo Padrón writes. She also mentioned that in the traditional telenovela, actors must handle situations that are even contradictory,  where their characters don't follow a logic line. In contrast, in telenovelas "veristas" or "de ruptura", the words and actions of the characters tend to be more realistic.

Daniela's words resonated with me and echoed those of the many actors I've interviewed during my research. In particular, throughout Ciudad Bendita, many actors told me that their character was a "pleasure" because it was "served" to them.

In sum, it was a special class thanks to our special guest. My students and I sendour sincere gratitude to Daniela.

Continuing with my students’ presentations, today I bring two that focus on two telenovelas that are considered landmarks in the industry: Los Ricos También Lloran y Corazón Salvaje.


Presenter: Jenny Reid

Topic: The impact of Los Ricos También Lloran

Objective: Although Los Ricos También Lloran were broadcast before the Internet boom, what traces can we find today in the Internet regarding how this telenovela was received?

Sources: Internet blogs and message boards

Findings and conclusions:
- This telenovela had immense success in post-communist Russia. From members of the working class to the political elite, Los Ricos También Lloran was watched by almost everyone.
- By today standards Los Ricos También Lloran has modest production values. In addition, its plot is pretty predictable. However, Internet messages suggest that this telenovela is still one of the all-time favorites.
- There have been several remakes of this story, and they have also been successful.

My thoughts: Among the many questions that I’m constantly asking and trying to answer regarding telenovelas is: How do these stories “work” within a specific historic moment of consumption? For instance, in Venezuela Cosita Rica’s success was linked to the country’s polarized and hiper-politicized reality during 2003 and 2004. The success of Los Ricos También Lloran in post-communist Russia begs the question: What were the characteristics of this sociocultural formation that determined, at least in part, the audience’s attention? In addition, why do its remakes work so well time after time? Why is it that these cinderella-stories work most of the times? Is this related to the global phenomenon of the feminization of poverty? Or is it that the dream of socioeconomic ascent is universal?








Presenter: Amanda Young

Topic: The consumption of Corazón Salvaje

Objective: Understand why Corazón Salvaje is considered by the public “unforgettable”

Sources: Internet Blogs and message boards

Findings and conclusions:
- Two main reasons determined Corazón Salvaje’s success: The work of actor Eduardo Palomo and the chemistry between his character, Juan del Diablo and Mónica (Edith González).
- Eduardo Palomo was, at first, considered an unattractive protagonist. However, his character hooked the audience. There are messages that extoll his performance, the nuances of his character, and, above all, his powerful gaze.
- Many consider that the chemistry between these protagonists hasn’t been surpassed yet.
- Juan del Diablo was the defining character in Eduardo Palomo’s career.

My thoughts: There are characters that become unforgettable for the audience. These characters also leave their mark on the actor's career. This is the case of Eduardo Palomo and Juan del Diablo. By the same token, there are telenovela couples that captivate the public. They penetrate the audience's imaginary. This also happened in Corazón Salvaje, in which the love triangles not only rotated (Juan del Diablo begins in love with Aimee, and ends up falling in love with Mónica), but also permutated (Triangle 1: Andrés-Aimée-Mónica . Triangle 2: Juan-Mónica-Aimée). What factors determine a perfect engagemente between actor, character and audience? There are actors who've been marked by a particular character. Case in point is Eduardo Palomo and Juan del Diablo. There are others who have the ability to leave their mark and be marked by several of the characters they have interpreted. Moreover, these characters also remain in the public's mind. For example Venezuelan Gledys Ibarra has given us Eloina Rangel, Luna Camacho, Patria Mia and La Diabla. All of them women from a popular socioeconomic level, all different, all unforgettable.

In general, Venezuela--my country--is obsessed with beauty and physical appearance. The Miss Venezuela beauty pageant is one of the emblems of our national fixation. International beauty pageants are also significant in Venezuela. Particularly because they are a yearly opportunity to show that ours is "the country of beautiful women."

It isn't suprising then, that in Venezuelan telenovelas beauty is often privileged over talent when casts are selected. To be sure, this isn't exclusive of Venezuela. Beauty over talent is common in almost all telenovela producing countries, with the exception of Brazil.

Given these industry standards, we shouldn't be surprised with the actors' generalized use of plastic surgery and other drastic beautifying procedures. As someone who's had the privilege to interview many actors, I must say that they are trying to survive in an industry that, with very few exceptions, discards those who aren't "pretty," thin and young. Producers and network decision makers say that THIS is what the public wants to see on their TV screens: beautiful, thin, young (and light-skinned...but, that's a topic for another day) characters. In other words, the responsibility for such excessive use of plastic surgery belongs to the public.

With this scenario in which causes and consequences blur, mix and become very confused in a vicious cycle that perpetuates a specific beauty standard, it was very refreshing for me to find in magazine Todo en Domingo inside Venezuelan newspaper El Nacional the following news story and pictures of five young and talented actresses who haven't gone under the knife, who want to be recognized because of their talent, and who have achieved success: Daniela Alvarado (Juana la Virgen, La Invasora, Voltea pa' que te enamores), Chantal Baudaux (La Mujer de Judas, Negra Consentida, Amantes), Ambar Díaz (Por todo lo Alto, El Dr. G y sus mujeres), Estefanía López (Mujer con Pantalones, Te tengo en Salsa) and Marisa Román (Trapos Intimos, Cosita Rica, Ciudad Bendita).

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