The attendance of Brazilian scripts over nearly two decades, will there be served to affirm an exciting model that facilitates the production of original texts in Chile? When looking at the differences introduced adaptations, usually at the expense of quality text, as seen in Sucupira (O Bem-loved), but also in the more trivial fashion Love is (Ti Ti Ti), is the feeling that learning is verified all but irrelevant. Certain features that became commonplace in Chilean production (such as stereotypical characters, the absence of conflict and suspense) displayed no matter what type of material originally written or adapted. The projections made in the '80s, for those who still can not access the middle and could criticize objectively, were not met during the '90s. Hardly the soap opera content change as long as the denial of cultural and ideological pluralism, as long as the refusal to introduce critical content and dissidents, while present problems and prevent real dramas (...) and while preventing innovation and experimentation for fear rating. But this situation should change within a democratic system of television. (...) There is a widespread demand as a priority in the future those matters that have been excluded from the screen. Does the reliance on imported scripts revealed perhaps a more profound lack of collective imagination Chilean? Or just about the mark left by those who decide to produce this or that, according to criteria makeshift defend their personal interests? A librettist to all conventional lights, but as experienced as Arturo Moya Grau, from the mid-'70s until his death in '90, managed to sell their texts more frequently in Mexico than in Chile. Juan Ignacio Valenzuela on one hand, Castagno Daniel Nestor and the other followed the same path during the 90's. No comment from officials of the channels, the more interest in ensuring the production of National Card. Can get their plants to directors, actors and entertainers who rarely use and generously paid, but only hire scriptwriters when to develop a specific project and then bemoan their lack of experience, as if they could buy it expecting to be summoned. Today there are very few experienced TV writers. Graduates of the School of Communication, having enough knowledge, do not (...) (...) practice and you learn doing this job. I think one important function of the National Council of TV should be training people, scriptwriters, producers, directors. The most curious is that the professional ability of the playwright seems to be rarely taken into account. A few playwrights recognized as Vodanovic Sergio Wolf and Egon have written very occasionally some original soap opera for Channel 13, as MarÃa Elena Gertner did in TVN in the '80s. Have not led groups of employees, nor continuously. Mistrust or even hostility that arises between the writer and the rest of the production team, is a fact described by the Chilean press: Every night, Moya Grau writes the chapter and verifies it with the booklet in hand. The explanation is not so much to be a perfectionist (...) but to do it. So do not tell stories. This control is to see that an actor does not get out of text and give to improvise. The writer is too close to the Chilean producer team, not installed in Brazil, but hearing about the results of production, and sometimes having to defend the coherence of its text against the changes to be introduced in the production process, it becomes a hindrance to the directors prefer to avoid. A fundamental tool of the genus in other countries, the creative feedback between the different team members in Chile is often reduced to a history of mutual insults. Three years ago [Moya Grau] promised not to write again to Chile. I was enraged. Without consulting him, had made changes in the Last Crusade. We are far from fruitful dialogue between specialists who complement each other, advocated in the mid 60s by early analysts of the media: It is appropriate that the screenwriter of TV spend hours and hours witnessing tests, looking at the monitors, listening to the warnings and modifications to the director (...). Must be in the cabin at the time the program is on the air and look at the information that makes the camera director, coordinators, the soundman, actors. That does not happen in Chile, for different reasons. First, is too urged librettist, writing the next chapters, as for recreation visits and dialogue, although they might provide productive feedback, you will lose precious time. What channel he appreciates most is the speed to do their part, not worrying the rest. Secondly, it is rare that someone in the channels assume that writing is a creative work of whose existence depends on the fate of the final product. What is the production structure that devalues \u200b\u200bthe local script and forced to depend on foreign texts or stereotyped, when it is not pure improvisation? One that neglects the role of drama, likening it to a hobby where ideas of some complexity, references to the real world and even the emotions are more intense. In the drama of channel 13, through the Catholic University, is easy to understand that there is no room for extramarital love affairs, drug use, prostitution, homosexuality, violence, sexual intercourse, AIDS, abortions, divorces, suicides, prolonged kissing or criticism of any institution or set value. Maybe I should place the media is not about to return Unsharp unrecognizable to their worldview. However, even accepting that the drama should respect those limits in place to address contentious issues to give a decision in accordance with the premises of the medium, the question arises: why produce dramas and series, dramatic speech that are often characterized by unorthodox proposals or at least instructive on the moral and good manners? The dramatic claim the possibility of staging intolerable violations of the existing order (which, however, impodrá at the end), since it is variety and give credibility to the conflict dramatic features. The Oedipus story includes incest and other crimes, but does not induce the audience to imitate the sinner, but rather the opposite. If it is obvious the existence of the drug in a soap opera, how describe it as a scourge of modern life? If you delete the configuration of sexuality, how do give some weight to the Church talk about it? In Chile expresses a constant tension between those who produce a television drama in need of conflict representation capable of moving the audience, and those who fear (and thus censored) that representation by assuming that promote imitation of an innocent audience which should remain uninformed. When adultery is implied in the plot of a soap opera for Channel 13, as in Top Secret, the protest immediately arises viewers an organization that initiates pressure on major advertisers to withdraw their funding to the environment question. No wonder that the characters critics were quick to rectify his conduct of a chapter to the next, leaving other way trip and all adhere to the moral, but in doing so destroy fundamental reasons for the plot. Even the more conventional scripts of Brazil, are difficult to accept in the ideological context imposed on the Chilean media. Almost all were written in times of strict censorship, for more than two decades of military governments systematically suppressed freedom of expression, yet often seem more controversial than prudent, when they were set in Chile under the restored democracy. Before 1990, more than half an analyst assumed that the thematic limitations of television drama, were a direct consequence of the restriction of citizenship rights exercised by an authoritarian government. Oscar
Goraycochea
Chile, Santiago (Analyst)
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