At beginning of this autumn, journalist Soledad Gallego-Díaz received a singular proposal. "Would you go on a stage to participate in a live journalism show?" asked François Musseau, correspondent for French newspaper Libération in Spain for almost two decades. "It's about telling real stories in first person." Episodes that for some reason have impacted or excited a journalist in exercise of his profession, said Musseau. They have to be relevant and true, of course, because that is basis of journalism, but at same time y must be very personal to connect with public.
Stories of this kind should not miss this professional with four decades of trade behind him, linked to country since its founding as an informer, correspondent, deputy director or columnist. And it wouldn't be easy to choose. "How about one about transition," suggested Musseau. Eureka. "I immediately came to memory one morning, a brief episode but I think it symbolizes what was transition: what really lived in Spain at that time, illusion that was bread in country." I think it is appropriate to remember it just now that you hear such negative things about that period, says Gallego-Díaz.
Five or journalists of outstanding trajectory (Sergio del Molino, Alfonso Armada, Mayte Carrasco, Michaela Cancela-Kieffer and Miguel Mora) will participate toger with Gallego-Díaz in first live journalism show organized in Spain, a formula Which has been filling atres in United States and several European countries for several years. In United States it emerged in 2009 with name of Pop Up Magazine; In France y call it live Magazine, and in Spain will be presented under title of live newspaper next Wednesday in Palacio de la Prensa in Madrid. The last session in France was on November 27 at Casino in Paris before a courtyard of armchairs to overflow (1,300 spectators) and with a special guest: The current French Prime minister, Édouard Philippe, who reported how he lived process that led to his appointment as Head of government last May.An international phenomenon
It all started in 2009 a small ater in San Francisco (USA). Journalist Douglas McGray and editor Chas Edwards mounted first Pop Up Magazine re almost as an experiment: it was about looking for new formats for journalistic stories. Very soon his idea was occupying great scenarios throughout country and began to invite or professionals: writers, scriptwriters, artists, illustrators, filmmakers, photographers.
In 2014 French journalist Florence Martin presented first Live Magazine before an audience of 300 people in Paris. Since n phenomenon has not stopped growing and begins to spread in Belgium, Denmark, Romania and Poland.
The first live newspaper in Spain will be held in a room in Palacio de la Prensa in Madrid, a symbolic place for hosting Press Association. The show will begin with live music played by Argentine guitarist Gaby Soule. Its melodies will be only thread of different stories, whose story is aderezaráed with videos and or audiovisual resources. If successful, a second session is scheduled in February.
What is so special about se shows to have become a public phenomenon where y have been presented? "The stories are usually very good, of course, but I believe in any case that that is not ir greatest attraction." What is important is not so much what is counted as way in which it is counted. In this time when we live overwhelmed by many information and content on Internet is beginning to value more and more narrative quiet, in depth, that helps us to interpret reality. No rush, no interference. This is why it is forbidden to record and take pictures during sessions: this is intended to be a unique, non-viral experience, says Musseau. "This was what hooked me up first time I saw a Live Magazine last year in France." I knew I had to organize something like this in Spain, he recalls.
He immediately got his hands on play. He contacted French organizers and began to think about how to replicate phenomenon in Spain. He proposed it to a few colleagues and almost everyone accepted. "It was easy." This is very attractive for journalists because it gives us opportunity to get closer to people in a moment of discredit of press. What to do to restore confidence? So far, when you do not know what to do, it is best to retreat and return to origins, ask why and to start telling stories, Sergio del Molino summarizes, which will relate an episode related to trips he did to write his essay The Empty Spain .
Michaëla Cancela-Kieffer, correspondent of Agence France Press in Spain, presents it as an intimate encounter with public. "When you're working and you live something that hits you, you want to tell it in detail, to go far beyond what current format allows you to do." As it is not normally possible, you end up telling a friend or family member at night. And that's what I'm going to do in daily live: Tell an experience I had recently while making a report that left me stunned, "continues journalist.
Reporter Mayte Carrasco, who has worked for several media as a war correspondent, has also chosen a very personal story that she lived in Syria. "It's something I've never been able to tell because no format was appropriate," he explains. Alfonso Armada, also tanned in dozens of war conflicts as a correspondent at different stages in country and ABC, puts his story in Africa. "It's an episode that marked me and that will accompany me to death," he says. And Miguel Mora, also linked to country for two decades and now director of context, will dive in profile of a public character in a difficult time of his life. "I had to do so much information about him that we ended up making a relationship." And at this point in narrative I stop: how do personal links influence time of making an information? ' asks Mora.