Paloma Delaine – The Diary

Our beautiful guest today in Cvltvral is an actress and director who began her studies in Dramatic and Performing Arts at the École des Roches boarding school (Verneuil sur Avre) where she was part of the Verlaine cast and supplemented them with studies in psychology and psychoanalysis. In Bolivia, he participated in several television spots, more than thirty short and medium-length films with directors such as Diego Torres, Iverint Lopez, Ramiro Montaño, among others. He has worked in television series such as “The Delivery”, “Spicy Assortment”, “Men” among others. The last feature film she was part of is “Fuertes”, a drama based on the history of the Chaco War, in which she plays Celia. As far as Theater is concerned, he collaborated acting with the casts of Yantra Teatro and Los Cirujas. At the same time, she was a guest director of other casts and also directs her own works: The Love and Death trilogy and The Suicide Shop. In this exclusive we know more about her and her career… everyone welcome to the show.

Who is Paloma Delaine? Was it always the one you wanted?
I think above all a dreamy and passionate person. When I was very little I wanted to be “magical”. That to me meant making things appear out of nowhere. I love books from a very young age, the stories, the lives of each being that becomes a character. It was never very clear to me what I wanted to “be” in itself, but what I liked to do was. I loved writing, reading, taking photos, acting, dressing up and I still do as an adult. All of that quite fills my childhood desires, but I’m always going to want more of all of that and try to get better at it.

What moment in your life marks your first approach to acting more than just out of curiosity?
My mother always took me to whatever cultural show she could, and she would tell me about her own mother’s love for theater and her father’s for cinema. So one day, at the age of nine, it occurred to me to prepare a show of performances, dances, songs and I convinced my brother and some friends to be part of them. We sold the tickets to family and neighbors, I divided the profits among everyone and it was quite an achievement to feel that people had fun and appreciated what we did. Later, whenever he could, he performed in the different schools and put on other shows. Until at fifteen I was given the opportunity to study at a boarding school where one could “specialize” in various things. I immediately got into visual and performing arts. We had an excellent and very demanding theater director and we were a small band of crazy people who improvised and invented on video. I learned a lot, sometimes in a difficult way, but the performing arts perfectly united what I loved the most, the stories, the characters, the magic of the lights and the image.

Did you start to differentiate and appreciate performances of your liking from a young age?
More or less, at the beginning it was the same with acting as with reading, it only devoured what it saw. I was fascinated by any story, no matter how it was told. One day, a French group presented several short plays and I was amazed that it was not just a story, I lived it. The actor was so believable that he appeared to be, not to act. When they came out to greet the public and that man came out with a big warm smile, he was not at all like the being that he embodied a few minutes before. It was a revelation. In fact, that’s where the idea of ​​putting together my own works came about.

What effect does acting have on you on a spiritual level?
Mainly a lot of questioning. I love acting and I spend hours, days, preparing characters. Sometimes it helps me to write letters, or invent his past, listen and dance to music that goes with the character. And I think that, in fact, we all have the potential to be so many different people … We are who we are for very chaotic reasons, genes, social groups, upbringing, sensitivity and sometimes a small variation would make us very different beings. I feel that in each person there is the potential of all those beings that we could be. Sometimes it is wonderful, because one discovers magnificent possibilities. Sometimes it scares, because those possibilities show you the worst of yourself. And you know that all that is there, deep underground or skin deep, but always possible.

What would you say is your greatest virtue when it comes to acting?
The passion. And a sensitivity that I have always learned to hide as much as I can and I am free to let go of acting. In real life I hate crying, for example, but by acting I can let go of a lot of things that I usually keep for myself. I think that being able to put yourself in someone else’s place is to be very important, not just acting, but in life. It hurts, but it gives us the constant possibility to learn.

Are you an actress who uses certain cabals before jumping on stage?
Yes. I usually have the same nerves as a child before going on stage. In theater, I try not only to concentrate, but to join my hands and feel their heat, feel my whole body. Generally we have a glass of liquor or wine and we give each other a huge hug, wishing each other a lot of M. On television or cinema, the same with hands and music. Music seems to me a perfect vehicle to get closer to a character.

You have ventured into acting and directing in theater. What is the greatest lesson that the tables leave to a professional like you?
That, if you think you already know, or have the answers, you get stuck. You can always learn and you never know from whom or how.

How many productions will you have under your belt throughout your prolific and successful career?
Hard to say, I only started counting when it was useful to me in my resume. Many, because those that do not count for others also count for me, such as those as a child or as a young man in which I learned so much.

You have also followed a quite prolific career in audiovisual production. What has this experience contributed the most to your acting career?
I love audiovisuals, a very different experience from theater. I like the solitary and personal work beforehand, like the speed at which things are done once filming. The idea that a moment can be recreated, invented, enhanced by colors, sounds, phrases and pauses that remain in the image seems magnificent to me. I like that the audiovisual is not the most important actors, but a whole team effort. I really admire every part of the audiovisual, the script work, art, lighting, sound and even continuity. Not to mention production and direction, which manage to make all this possible and unite without the public noticing.

You have participated in many short, medium and feature films. Which one has most challenged your acting skills and techniques? Why?
Several the truth. A short film in which I was a transsexual man made me review a lot about myself, that I always loved being a woman and saw masculinity as a limitation to die. It made me rethink a lot of prejudices I have about men in general. Working with Diego Torres as a director is equally unique. At first, I felt a bit like a puppet, because he was clear even the gestures on the screen, but I love the result, it transports me to another vision of the world. There was also a short film in which she was an unfortunate woman who kidnapped children. That gratuitous evil and the idea that deep down there may be some of that in me was very disturbing. It took me a few days to feel like I was coming out of that character.

After the gradual return to activities with the public, do you already have stagings on the agenda for the coming weeks?
Yes. At the moment the theater is a bit difficult, due to the limited capacity, but I am writing and I plan to direct a video clip for a childhood friend. Also thinking of making a filmed teaser of a black humor work that I am finishing preparing. I would like to re-stage some monologues and short plays, the trilogy “De amor y de muerte”, but for this I have to see spaces again and find viable options for rehearsals.


3 unavoidable books: One Hundred Years of Solitude by Gabriel García Marquez, Of Men and Mice by Jhon Steinbeck and The Flowers of Evil, by Baudelaire.

3 albums to always listen to: Innuendo by Queen, The Razors Edge by AC / DC, Carmen by Bizet, with Julia MigenesJhonson and Placido Domingo.

3 places in the world to die: In the Yungas, in the sun, under an orange tree. In Bujumbura, on the beach of Lake Tanganyika. A stormy night in a hot place, in heavy rain.

3 actrices que admires: Kathy Bates, Sarah Paulson, Maggie Smith
3 essential things in life: Laugh, dance, dream.

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Paloma Delaine – The Diary