“The need I have is to put myself at the service of the people.”

It is the most necessary show I have ever done” says Martín Bossi, and the comedian, the event on Corrientes Street, talks about Bossi Live Comedy, the proposal that he launches on March 16. Once again in command, Bossi is accompanied by a great team of seven musicians and creates a show that excites and moves him. How did the popular artist who was born in another world, one where fame was given by TV, and who now, in addition to this show, face a series for platforms, create? Bossi: “There is a group of people who help me. I have a creative who is an author named Emilio Tamer, who has been accompanying me for 12 years in the creation and writing of content. I work together with him. Then, on the one hand, it is marked by the needs that I see in the public and, on the other hand, the needs that I have as a human being and as an actor. My shows before had the need for them to see how I look like the others, the characters, and now the need I have is to put myself at the service of the people, to talk about things that I feel like. I have to take care of what you want to talk about because art is an excuse, it’s a great excuse.

—Considering what you told me, art, at least for you, is a great excuse for what?

—Art is a great excuse to modify. In some cases, sure. In my case to modify. In others to modify and understand. A great pretext, that’s what the phrase says. Actually, there is something that is rarely talked about. We are very sleepy. And I think we need to wake up a little. Elementary things have been taken from us. Look, the other days

I was talking to a colleague of yours: I said that the celebration of the show had to do with something together, to be able to celebrate romanticism, laughter and melancholy. And she told me that the show back then was something based on nostalgia. That’s the point: to believe that being romantic is being old. They took away our basic necessities, and we didn’t realize it. What I’m doing is an invitation, following the line of La Scaloneta (which once again pointed to the group, to the family, to belonging). The only flag is love, haters, banners and ghosters are going to feel uncomfortable: we are going to wake up for a little while.

—You were talking about romanticism, it sounds like he believes a lot in what a show can do.

—Yes, I am a fundamentalist of love. And from face to face. They are a theatrogramer, I am a theatrical influencer. The truth that yes, but I did not invent anything. People who are awake can perceive that maybe show business is that you’re not happy, because if you’re happy, you don’t consume. There are no comedies, there are no melodies in the songs, there is no

love movies: they took us from the most transcendental to the most absurd. Even the possibility of shouting a goal… today you shout a goal and thanks to the VAR you stay in the middle, it’s like an orgasm in the middle. That’s why the show is interactive, people are the protagonist. It’s not a show written by an Englishman, and it’s not a best-seller. It is a show written by someone from Argentina, and it speaks to our needs, it is a show aimed at us.

—How does the Argentine speak to you now?

—There is something called comedy, stand-up, music, moment: it is a celebration, a very nice cultural event, there are very young people, there are musicians my age. It is a very big communion. It is not a show for everyone… I mean, if you want to “entertain yourself” you have many shows to see. Ours is to laugh, and see what fits you, how it hits you, we are going to open our eyes together. Without truths, because I am not here to tell the truth, I am here, yes, to ask questions.

—What moment of a scenario excites you, even so many years later?

—The theater is a religion for me. The closest thing to a mass is the theater. There are people, a pastor, someone in the center. The theaters have a lot of religion. Yeah

I leave my house and I know that at night I am going to do theater, for me it is a success. I feel in the right place in the theater, and the world today personally feels that it offers me very little. The truth is that being able to communicate in person with people is the place where I want to be.

—If theater is your religion, who do you pray to?

—The God is the encounter, is the love. I have been on Corrientes street for 12 years. And people have given me the possibility but it is also very difficult. It’s not that I do “The day Nico was robbed”, “The romance of the seagull”, “The directors”… I don’t know if what happens to me has happened: being with my name, my name in front of the show in the middle of Corrientes street. It is partly my merit, and the merit of the people, who have spoiled me. Because there are actors who have made a beautiful career, but with their own name as the main epicenter on the billboard, the title, there is little. None could tell you today. It’s terrible that the play is called with your first and last name and they don’t come to see you… every night is a bet. And that’s how it’s been for 12 or 13 years. There are almost two million people who have already seen us. The God, then, is love.

—Why then speak of love with that emphasis now?

—They did not take away our love, they have taken away things that were good for us. Lennon said it, all we need is love. A father with his children in the theater, two boyfriends dancing in the theater, and so on: there is nothing that big for me. It is is love. The business of the hate show, of the catastrophe, has nothing to do with love, it has to do with urban desires, with violence, this addiction that we have in Argentina of cracking down for everyone, between political parties, between races, between sexes, between flags, between handkerchiefs, everything is a division. Here in the show is to love each other and ask ourselves questions, it is a collective catharsis.

—What did you feel defines a popular artist right now?

—The popular is very difficult today, because everything is very segmented. Luckily in my career I caught the last part of that stage where the whole family sat down to watch television. It was easier, but if someone was good, the whole family looked at you, from 7 to 90 years old. Today there is a lot of segmentation of the public, which is not bad but that allows me, yes, to see, for example, in humor, people who generate thousands of likes. But sustaining yourself in the theater is something else, and sustaining yourself for years with a career in the theater is even more different. I believe that a popular actor is one who lives beyond that through the filters, that today everyone lives with filters. Today you have an actor who fills Media Luna Park and celebrates. Well, let’s see if he gives you enough to spend seven months filling Corrientes Street. You can have a million followers, but they don’t fill your theater. Humor implies, when it comes to being popular, that everyone follows you. Not a little show in Mar del Plata, or a little while at the Gran Rex.

The universal to the show

—How do you manage to transfer a show that speaks to us Argentines to the world?

—It doesn’t even have to do with the Argentines, it has to do with human needs. When I go to Madrid, to Barcelona, ​​to Los Angeles, the base “paint your village, and you will be universal”. That is why Argentine films that tell what happened in our country are successful. We know what we are talking about. Then we talk about universal things, and I don’t have to decode anything, or change a word. That’s why we’re going to do a tour that’s going to last a year, and I’ve never been encouraged by such a big tour. The stage covers me two hours of my day, about 24 that the day has. Actually, I would tell you that those remaining 22 hours scare me. The two hours on stage I feel safe. This show is a party, but I imagined something: did you see when you fell into a party and you had one expectation and it’s another? Well, I had some expectations about the world, and they weren’t fulfilled. This is personal, not a criticism. I don’t feel very comfortable when I see what the world has become. It is not something that confronts me. I love living, I don’t know how long I’m going to live, but if I have to leave, I won’t do it with the anguish of before. This is full of individualistic people, violence, a lot of abdominal, a lot of tongue. I have the right not to be cool with this party. This is not going to a place where I drink a lot. The tiktokea world, and there are quilombos that involve someone who can blow up a continent. How happy could you be? We have sophisticated ways of hurting ourselves. I feel responsible for that, I’m going to live, but I don’t feel like sticking out my tongue and taking a picture.