Clara Ingold: “Everything is much better to swallow with comedy”

Clear Ingold is the Mallorcan humorist who triumphs with Paloma Parque. The artist breaks stereotypes with a new format fromstand-up, co-directed by Josep Orfilawhich combines monologues with musical performances – composed by herself – full of absurd humor, irony and self -parody, through which she reflects on autoboicot, relationships, aesthetic canon, being a woman … to discover the artist’s relationship with poorly called “ flying rats ”, you will have to see the show, which will stay in the Texas space.

Barcelona Theater: Paloma Parque It has been a very applauded proposal during his stay at the Teatre Borràs or at the Festival such as the Insomnia or the Llama Fest.

Clear Ingold: After seeing it went well, I’m better. He was very nervous, there the audience is very demanding. Many comedy people who came to see me said, “aunt, serial naked language muy Special. “

“Cure alone is a hell ”

Are not usually seen One Woman Shows That so many languages ​​hybrid: stand upinteraction with the public, music, even puppets.

As a comedy actress she is the more comfortable I have always felt. Also componed my songs … but I had never done a show of my own so I created Peajesmy first show, where I wanted to mix everything. This mixture allowed me to find personal language, but because of my shyness and imposter’s syndrome as a cathedral, I stayed halfway. He saw him a lot of shortcomings, and he sensed that he could go farther. With PARQUE PALOMA I got this thorn out and it has helped me to communicate more.

You said that you would not work alone, and you go and make a monologue.

Curry All alone is a hell. I recommend to anyone who surrounds a team who helps him, as I am helped by Josep (Orfila). I am lucky to have found someone with whom I really understand. It interferes and grows everything that comes to you, but maintains the essence of what you are doing. This is not everyone. Working with Josep helps me to focus on creation and believe me what I do, because I am quite unbearable with it. When I write, at the same time, I am directing what the assembly will look like. It is boring and disrupting. In this case I was able to write without considering how it would end, I simply vomited the things I wanted to tell. Together we managed to go farther and make a more explosive piece.

“There are topics that most difficult to make humor, for example climate change”

Vision on topics such as aesthetic pressure, porn or mental health is one of the highlights of Paloma of parque.

It’s a pretty show reed As for theme. I find super current topics, but I was scared to think that maybe everyone is talking about and nothing could be added. There are so many podcasts, so much daily information … It is very generated on the Internet, but I cannot create a show every week. You do improor the topics that choose to be really important to you so that you want to continue to say and not expire.

It is very generational, and at the same time very transversal.

I make humor of what I have sucked closely, people I know, or things that have happened to me directly. Aesthetic pressure or mental health are topics that cross my generation, but also involve the rest of society in some way. I have realized that the things that care for me, to a woman of 70 Years have also affected him or continue to affect him. With paloma of Parque I see a very extensive age range of people who enjoy and who are very reflected in each of the stories I tell.

But you also laugh at yourself

I make humor by laughing at myself. This works very well always: You can’t hurt anyone.

To you.

Of all that is rich, mine, it is very well assumed. I know what to talk about and what is not. When I talk about my nose, of my Juanetesthese are things that I have already overcome. If not, I couldn’t be putting it up on stage. Then there is a whole, darker social part of which I want to talk about, but I didn’t know how to punch it. There are topics that are most difficult to make humor, for example climate change. It’s not the same as chatting my own shit. Many people live very affected and they can’t do nothing, but I do this puppet, like “I’m not saying this.”

“There are people who say my show is like doing 70 minutes ofscrolls of tik tok but live ”

Now there is a wave of comics and comics, such as Hannah Gadsbywho are against self-shaning, laughing about oneself to make humor, because they consider it a self-love.

For me it is not self-shaming. I am superorgullous of all the parts that make up my body and it is very good to talk about it too. I really think I think you help a lot of people standardizing insecurities. I also did not come here to make self -help in the Penya, do you know? The important thing is laughing. If one thing I have discovered in my life is that everything is much better to swallow with the comedy filtered in the middle. It is also trainable. If you can moderately understand this, shelter.

You advance the show as if the rhythm was chosen by an algorithm.

I am very nervous. There are people who say my show is like doing 70 minutes of Tik Tok’s scroll, but live. People are very bad to be patient. I am the first that you plant an hour and a half to see a play and I do not know if I hold it, you know? The comedy: “speed“.

Have you influenced you having started creating comedy directly on social media?

I used the networks from the beginning as a humor laboratory, to try things. It allows me to investigate, although recently I do not make much of videos. It is very difficult to create a show and have to take on all the charges: marketing, sales … To me, people are still on what I am doing, for the aggressive classes of German, not because it does spam of Paloma Parque. I have a great love-hate on the networks, they make life easier, but they are pure slavery.

Where is born the restlessness of writing your own stories?

I’ve discovered relatively late what I wanted to do. From a young age I have always written stories and suppose creativity had been there. After studying dramatic art, I thought I would change his career and do anything else. He knew he had a comic vis, but the restlessness of creating comes to you the day you realize that you have a lot of material that you would like to communicate, but you need a place to put it. I had many notebooks with pointed things that I wanted to take advantage of. Half work was already done.

It should not be an easy way.

Into Peajesmy first show, I made my first compositions. He moved it all aloneI was coming with my suitcase, I had to ask for colleagues and I didn’t care. Was a suicide that I did in infrahuman conditions and when I devised Paloma Parque I wanted it to be easy, that it could be interpreted in a garage. But in the end we are not giving up, we want people to surprise and use a lot of resources to achieve it.

Starting with an absolute staging kitsch.

Ci this asks Josep.

Josep Orfila: Inspiration came that at that time we were obsessed with the theme of numbershotels. One day we were having dinner in the summer in Menorca and there was a gentleman with a keyboard, the letter on his cellphone … and we said: “It’s that., We’ll play a him shake maximum. ”But it is a shake It looks and recognizes.

Are you set up in Mallorca?

Yes, very quiet. Well in summer, much calmno.

How is the theatrical move in the Balearic Islands?

CI: It seems that it is moving more now, but it is as before. We have always had some isolated aid, for travel … nothing has changed. But maybe people are getting up a bit the fear we have had in Mallorca to perform beyond the sea. As if in the Peninsula people would bite you.

I: Catalonia, theatrically, is our referent and we always ask for alms, we always feel less … when in Mallorca there are many things and many shit, as in Catalonia. We have a very large inferiority syndrome and when we manage to enter the Beckett room one day it is at the bar, in the hall, at 12 noon. It is alms.

CI: Mallorca is a bad thing to do and there is a lot of mouth to mouth, you have to know the people. It is a small world where things are not stopped. And to create it is an impressive space, although for the comedy the audience is very hard, islet, very dry. Laughter is small..

Your family has been one of the cultural invigorators of Palma.

With my brother, in Diego Ingoldwe did work together. It is very difficult for him to get out of the improthen I have to be me to go inside its universe. I started studying dramatic art, then we set up a companyimprovisation with him and in Germán Pondbut in the second week I saw that the impro… no. But I stayed as a technique. A year and a half later it was well split: we had opened a theater in Palma with another group of impro. All this is a great topic: he has a push that I do not have, and to find my way I needed to separate myself a little. I had taken me on my brother’s car, but I discovered that I did not like management. Many years later I understood what I like to do to me: write, create.

Andreu Rami talking to Clara Ingold. Photography: Josep Orfila

What do you want to write about now?

Now I have You want to start writing audiovisual. I do not know if it is very good or not, but I like it very much and I have realized that many times, when I am creative, I think visually, in video format. We have just made the video of Paloma Parque and is a gem that we have recorded with in Joan Porcelain. But all that comes will be comedy, everything is enough drama and I am quite dramatic, with enough drama Addherit. At the moment I have no interest in drama, “Don’t Lat”. If you think about it, everything is “pure drama”, we have to turn it around.

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