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La audio serie chilena Quemar Tu Casa' regresa para una nueva parte de terror escalofriante

29/03/2023

Tras el xito de su primera temporada, la audio serie original de Spotify Quemar Tu Casa est de vuelta con una segunda entrega que trae m s miedo y deleite a los fan ticos.

Creada y escrita por Julio Rojas de Caso 63 , la segunda parte de la serie chilena retoma la historia de Lina y Julieta. Despu s de haber logrado escapar de la temida Casa 669, la pareja ahora se encuentra en la puerta de otra casa igualmente desconcertante: La Invernada. A medida que ingresan a las paredes de esta inmensa y aterradora estructura, los fan ticos se sumergen en un mundo que contiene muchos secretos. . . y muchas personas en las que no se debe confiar.

Junto a Giannina Fruttero y Magdelena M ller, quienes dan voz a las protagonistas antes mencionadas, el elenco de Quemar Tu Casa tambi n cuenta con las actuaciones de Mariana Loyola, Pedro Campos, Gabriela Hern ndez, Mait n Montenegro, Elvira L pez, Marcela Salinas, Jos Mar a de Tavira y Arturo R os.

Lo que distingue la atm sfera siniestra y escalofriante de Quemar Tu Casa es su uso inmersivo del sonido. Y junto con los paisajes sonoros del mundo real, la serie cont con una partitura magistral, dirigida una vez m s por el compositor chileno Carlos Cabezas.

For the Record se reuni con Julio para discutir las t cnicas especiales que usa Quemar Tu Casa para provocar miedo en los oyentes, la energ a del personaje principal de La Invernada y los desaf os futuros de la narraci n basada en audio.

Por qu el audio es un medio tan convincente para contar una historia de terror? Cuando alguien escucha un formato de audio, se activa un mecanismo de comunicaci n y de conexi n de intimidad que ha acompa ado a la especie humana durante miles de a os. El formato de audio fue el primero para advertirnos de los peligros y de estrategias de supervivencia. Escuchar a alguien frente a una fogata, escuchar historias, nos proteg a y el miedo ten a un componente de protecci n. Nos contaban historias de miedo para protegernos de los peligros que acechaban en el exterior. Algo de eso ha quedado y cuando un grupo, de ni as o ni os, se juntan en un campamento o en una pijamada, siempre alguien termina contando una historia de miedo. El miedo une a la tribu, porque comparten un imaginario de protecci n en com n.

Cu les son algunas de las formas inesperadas en que se usa el sonido en esta serie para agregar terror, suspenso o incluso un momento de ligereza? Julio Rojas

Hay varias formas y estas replican las fuentes de terror o suspenso que experimentamos en la vida diaria. El m s importante, el silencio. Un dispositivo extremadamente eficaz en la creaci n de suspenso. Cuando el sonido se detiene de repente o hay una pausa inquietante, el espectador anticipa que algo est a punto de suceder.

En el otro extremo est el sonido repentino e inesperado, una puerta que se cierra de golpe, un objeto que cae, un p jaro que entra as como lo predecible genera tranquilidad, lo impredecible activa el sistema de alerta.

Y por ltimo, el sonido ambiente: El sonido de fondo es el gran generador de atm sferas de terror o suspenso. En el caso de Quemar Tu Casa , en esta segunda parte, el ruido del mar, los sonidos de la casa, el viento y la tormenta. Quiz s nos conecta con el temor que ancestralmente le ten amos a los elementos que no pod amos controlar.

Tu ltimo podcast, Caso 63, despeg a nivel mundial. Crees que Quemar Tu Casa podr a ver una trayectoria similar? Creo que las historias que conectan con nuestros miedos o nuestras emociones generan siempre audiencias comprometidas y generan un boca a boca que hacen que una serie despegue, y Quemar Tu Casa tiene todos los elementos. Talentosas actrices como Giannina Fruttero, y Magdalena M ller, entre un elenco fant stico , una gran direcci n de Natalia Grez, un universo sonoro muy cuidado y perfecto para causar inquietud, obra de Carlos Cabezas, y el soporte de F bula. Creo que le ir muy bien.

Quemar Tu Casa est muy centrado en la ubicaci n. C mo se pliega la presencia de la casa en la historia, as como en la narraci n de audio? Es vital que uno pueda sentir la presencia de la casa, en este caso la invernada como un personaje en s . Para eso, fue necesario deslizar en los di logos y los sonidos claves descriptivas al oyente para que pudiera ver la casa e imaginarla, al borde del abismo, con sus pisos, con su torre n, con su despe adero. Pusimos nfasis en describir los objetos en las habitaciones, describir los acabados, los pisos, la torre, las pisadas en pisos de madera, el viento que soplaba a trav s de las ventanas, el mar en las rocas. Adem s siguiendo el g nero, toda casa tiene un pasado. Por eso en Quemar Tu Casa 2 se mencionan tambi n relatos de eventos pasados de tragedias y encuentros sobrenaturales que ocurrieron. Al combinar estos elementos en una narraci n de audio, intentamos lograr una experiencia inmersiva y aterradora que permitiera sentir la presencia real de la casa embrujada y conectar emocionalmente con los personajes y sus experiencias. En definitiva, sentir miedo.

Cu l es el papel nico de la postproducci n en la creaci n de entornos sonoros para podcasts? Es clave para convertir la historia sonora en una experiencia audiovisual. Gracias a la postproducci n, podemos crear en nuestra cabeza una verdadera r plica de la realidad y ver una pel cula o una serie, con la emoci n y con el tono exacto que se quiere obtener. Cuando la historia, la actuaci n y la postproducci n en este tri ngulo creativo se enlazan arm nicamente, dejas de ver cada parte por separado y se crea la experiencia completa y poderosa de ver el sonido .

Qu esperas a medida que el mundo de la narraci n de audio contin a creciendo y desarroll ndose? Que sea un formato tan com n e integrado a nuestra vida diaria, como lo es la ficci n de streaming hoy en d a, que genera fen menos culturales y comunidades de fans
LINK: https://newsroom.spotify.com/2023-03-29/la-audio-serie-chilena-quemar-...
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