Espacio Crítico 7 otoño 2009

octubre 12, 2009

Ryszard Kapuscinski a fondo.

Filed under: Entrevista imaginaria Kapuscinski — alma mem @ 6:07 am

Entrevista ficticia. 

Ryszard Kapuściński periodista polaco, de los más importantes de este siglo, nos da la bienvenida a su estudio , permitiendonos ver su controvertida vida y trabajo. Fue testigo de  decenas de revoluciones, revueltas, rebeliones , guerras, golpes de Estado, genocidios, eventos que cambiaron el  mundo y la historia.  Principal motor para escribir , como lo veremos más adelante en esta entrevista que logró traspasar las barreras del idioma.

¿Cómo fue que empezó a escribir?

In only one week of training someone can learn how to report surface truths and statements. Anyone can do it, There may be hundreds of books containing descriptions of the sun rising in Morocco. Many people write because they’re unaware that it has already been done.

For doing something serious you need the experience of being there, lots of reading and lots of your own reflection. If you saw things, but they did not awaken any reflections in you, there will be no good writing.

Part of the effort of the author is to awaken the readers to their duty.

¿Qué es la información?

In a closed society information is power. So in the Soviet Union, the central committee, the army, the police and the editors of Pravda all had their good lines of communication among themselves. But society at large knew nothing. Where information is a weapon, the most important thing is whether it is true or not.

In the West, information is a business. That is another category of value. The media technological revolution made information big business. This changes the sense of information. In the West, it is a question of attraction, of whether the information is interesting or not interesting, rather than whether it is the truth.

¿Cómo se considera si una noticia es importante ?

The manipulation of news is a process of selection. In the electronic media the criterion for selection is shortness. A report on Bosnia in 15 seconds. So what do they choose to select from two hours of footage? People at home may blame the correspondent, but that is not the place where information got the negative transformation.

E-mail does not help much. It gives more information, but does not improve knowledge.

As T.S. Eliot wrote, knowledge can be “lost in information.”

¿Porqué escribir sobre guerras y conflictos mundiales?

It is about politics, about how a change in situation changes the nature of people involved in it. There is a sense of it in all situations in which you have a hierarchy, a political structure, your boss, things changing in your life. There is a potential for autocracy in most social institutions.

¿Fue duro presenciar este tipo de conflictos?

I didn’t travel much once I was in place because our Polish Press Agency was very poor. That’s why I would stay as much as three years straight without returning home. There were lots of coups to cover, too. It was dangerous work.

My reports were a scandal, though, and they called me back.

Tengo entendido que no quizo cubrir la guerra de Irak, ¿Porqué?

When I was asked to cover Irak war , I declined, I wasn’t interested in this type of coverage, which only depends on the State’s decision. There’s no possible periodism, as there’s no way to find out whether the information given reflects reality or not.

En esta breve entrevista , pudimos obtener  una  fuerte impresion de la personalidad del autor asi como sus convicciones para escribir. Gracias , a los interpretes que han hecho posible el entendimiento, asi como a ustedes, los esperamos nuevamente en este espacio sobre periodismo.



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