Author
Writing is something that happens despite me, so I let it be when it calls. It wasn’t always like this; for many years, I suppressed it. However, when I found myself publishing the first book, I understood that I had to embrace it as an integral part of my world.
It took me some time to find my voice and the wonderful journey back and forth between the actress and the writer, but it finally happened. The word is action, emotion, and body in a creative revolution.
Since childhood, I have been a passionate reader; I enjoyed writing what I was going to perform and also did it upon request. All those things still happen, but now they have become a profession.
I invite you to read my published books as well as the stories and articles I upload on my blog.
I have written for many artists from different disciplines, a beautiful and enriching task. If you need help, someone to put words to your world, don’t hesitate to contact me.
My books
Remembering the work of a teacher who has left a strong imprint on those who received his lessons and, from there, reconstructing the journey of the work of that unique artist is already a commendable task. However, connecting the work of this master with one of the pioneers of the Russian realism school in Argentina, Galina Tolmacheva, is not only an act of scholarly demonstration but also a good clue for thinking about the discursive construction of theatrical imaginaries in our country. Through the exploration of the theater of each of the "characters" presented in this book—Galina, Miguel, and Carla herself—the condition of randomness in the formation of artistic thought in the Argentine theatrical field is revealed. This approach is a valuable contribution to reflections on the constitution of the theater we have in Argentina.
Miguel Guerberof En Escena
At the beginning of the quarantine, Carla started writing her diary, a kind of mental and emotional outflowing of those first days of confusion. The following pages are not a diary of the plague but record the events of those days when we were entering this new era of uncertain outcome. Primarily, they are that inner voice that the title promises, the voice of a woman bewildered, that of a skillful surgeon plunging her scalpel into herself. Her own body and psyche are observed not without humor, not without pathos. The reflections that these examinations bring about sometimes surprise with their honesty and other times with their delirium.
La Voz Privada
Miguel Guerberof En Escena
Remembering the work of a teacher who has left a strong imprint on those who received his lessons and, from there, reconstructing the journey of the work of that unique artist is already a commendable task. However, connecting the work of this master with one of the pioneers of the Russian realism school in Argentina, Galina Tolmacheva, is not only an act of scholarly demonstration but also a good clue for thinking about the discursive construction of theatrical imaginaries in our country. Through the exploration of the theater of each of the “characters” presented in this book—Galina, Miguel, and Carla herself—the condition of randomness in the formation of artistic thought in the Argentine theatrical field is revealed. This approach is a valuable contribution to reflections on the constitution of the theater we have in Argentina.
La Voz Privada
At the beginning of the quarantine, Carla started writing her diary, a kind of mental and emotional outflowing of those first days of confusion. The following pages are not a diary of the plague but record the events of those days when we were entering this new era of uncertain outcome. Primarily, they are that inner voice that the title promises, the voice of a woman bewildered, that of a skillful surgeon plunging her scalpel into herself. Her own body and psyche are observed not without humor, not without pathos. The reflections that these examinations bring about sometimes surprise with their honesty and other times with their delirium.