Catalina Pulido Critiques Paola Volpato‘s Viña del Mar 2025 Festival Performance

Actress Catalina Pulido has publicly criticized Paola Volpato’s performance as co-host of the Viña del Mar 2025 Festival. The critique was aired during an analysis on the program Follow me (TV+). Pulido’s comments focused on what she perceived as Volpato’s struggles in the co-animator role. The panel on Follow me (TV+) suggested that Volpato’s difficulties might stem from stage fright, technical issues, or a general lack of experience in this specific type of performance setting. The remarks have ignited discussion about the expectations placed on seasoned performers when they step outside their primary area of expertise.

The Viña del Mar Festival is a significant event, drawing considerable attention and scrutiny.The co-host role demands a unique set of skills, including quick thinking, the ability to engage with a live audience, and seamless navigation of unexpected situations. The pressure of a live broadcast can be immense, even for experienced performers.

Pulido’s Disappointment

Pulido expressed surprise at Volpato’s performance, especially considering her extensive background as an actress.

Please, we are talking about a tremendous actress. So, I don’t understand. for me, it really caught my attention. I said: ‘Paola is going to comb it,’

Pulido stated, conveying her initial expectation that Volpato would excel in the role. This expectation was rooted in Volpato’s established reputation and experience in the acting world.

Pulido further elaborated on her reasoning, emphasizing the importance of improvisation skills for performers.

In Theater the first thing they do to you is improvisation. You leave the theater school knowing scenic management, improvisation,

she explained, highlighting what she considered basic skills for any stage performer. Improvisation is frequently enough seen as a cornerstone of theatrical training, equipping actors to handle unexpected situations and maintain composure on stage.

The ability to improvise and manage unexpected situations is frequently seen as a hallmark of experienced stage actors. Pulido’s comments suggest that she believed Volpato’s theatrical training should have equipped her to handle the challenges of co-hosting the viña del Mar 2025 Festival.

Scenic Panic and Rafael Araneda’s Support

Pulido acknowledged the possibility of stage fright, noting that even experienced performers can be affected by it.

rafael Araneda was trying to save her all the time. Maybe a scenic panic came, which can be. A scenic terror,of course,has also happened to me on much smaller stages,

she admitted,recognizing the potential for unforeseen difficulties during a live performance. Stage fright, or “scenic panic,” can manifest in various ways, affecting a performer’s confidence, memory, and overall ability to connect with the audience.

The role of Rafael Araneda, the main host, in attempting to support volpato was also noted.This highlights the collaborative nature of live events and the importance of teamwork in navigating unexpected challenges. Seasoned hosts often rely on their co-hosts for support and collaboration, especially when facing unforeseen circumstances.

Comparison to George Harris

Pulido went on to compare Volpato’s performance to the discomfort she felt while watching Venezuelan comedian George Harris.

I was absolutely appanated. He made me very uncomfortable. More than George Harris, Paola Volpato bother me,

Pulido stated, indicating the level of unease she experienced while watching Volpato’s performance. this comparison underscores the subjective nature of performance criticism and the varying degrees to which different performances can resonate with individual viewers.

the YouTube video below captures some of the moments being discussed:

Conclusion

Catalina Pulido’s critique of Paola Volpato’s Viña del Mar 2025 Festival co-hosting performance has sparked debate about the challenges of transitioning between different performance roles and the expectations placed on seasoned actors. While acknowledging the possibility of stage fright,pulido expressed surprise that Volpato,given her extensive acting background,appeared to struggle in the role. The discussion highlights the complexities of live performance and the subjective nature of audience perception.

The Stage Fright Paradox: When Acting Experience Doesn’t Translate to Live TV Hosting

Even seasoned actors can struggle when transitioning from the controlled surroundings of the theater to the unpredictable world of live television. Catalina Pulido’s recent critique of paola Volpato’s performance at the Viña del Mar Festival highlights this interesting paradox. To delve deeper, we spoke with Dr. Anya Sharma, a leading expert in performance psychology and media studies.

World-Today-News.com (WTN): Dr. Sharma, Catalina Pulido’s criticism of Paola Volpato’s co-hosting of the Viña del Mar Festival has sparked quite a debate. What are your initial thoughts on this situation, and what does it reveal about the demands of live television versus stage acting?

Dr. Sharma: The Pulido-Volpato situation perfectly illustrates the meaningful differences between stage acting and live television hosting. While both require performance skills, the demands are profoundly different. Stage acting often allows for more control and rehearsal, with the prospect to refine performances over multiple shows. live television, though, demands spontaneity, swift thinking, and the ability to adapt to unforeseen circumstances, such as technical glitches or audience reactions.

The pressure of a live broadcast presents a unique set of challenges that even highly trained actors may struggle with.

Volpato’s experience as a triumphant actress doesn’t automatically translate to those skills.

WTN: Pulido highlighted the importance of improvisation, a skill crucial in theater. How does this skill set translate—or fail to translate—to live TV hosting?

Dr. Sharma: Improvisation is certainly a valuable asset in both settings. However,the type of improvisation differs considerably. theater improvisation frequently involves collaborative storytelling within a structured framework. Live TV hosting demands a different skill set: the ability to handle unexpected interruptions, recover from mistakes gracefully, and engage a large, diverse audience in real time.

Successfully improvising on live television requires not only creative thinking but also sharp decision-making skills, practiced mastery under pressure, and a deep understanding of the specific format.

This isn’t always something directly taught in conventional acting training programs.

WTN: Pulido mentioned “scenic panic,” which she herself has experienced. What is scenic panic and how significantly can it impact performance in live events?

Dr. Sharma: “Scenic panic,” or stage fright, is a very real phenomenon that affects performers of all levels of experience. it manifests as a sudden surge of anxiety and fear,frequently enough leading to physical symptoms like increased heart rate,sweating,and trembling. The severity of stage fright can significantly impair performance—affecting memory, concentration, and even basic motor skills.

In the context of live television hosting, scenic panic can lead to significant problems, like loss of composure, stumbling over words, or an inability to connect effectively with the audience.

It’s vital to recognize that even highly experienced performers can be susceptible to stage fright, and coping mechanisms and strategies are crucial.

WTN: pulido compared Volpato’s performance to that of comedian George Harris, stating that Volpato made her more uncomfortable.What does this tell us about the subjective nature of audience perception and performance critique?

Dr. Sharma: This highlights the inherently subjective nature of performance criticism. What one viewer finds uncomfortable or lacking, another might find engaging or endearing.

Audience perception is shaped by a multitude of factors, including individual preferences, expectations, and prior experiences.

The comparison underscores the point that criticism, notably of live performances, needs to be nuanced, avoiding generalizations based on individual taste. A performance can be objectively flawed in execution, yet still resonant for audiences in its emotional or comedic effect. Conversely,a technically perfect performance could fall fully flat if it fails to engage the audience on an emotional level.

WTN: What are some key takeaways for aspiring TV hosts, actors seeking to broaden their career, and performance training institutions?

Dr. sharma:

• Aspiring TV hosts: Seek training specifically in the unique skills needed for live television hosting. This might include training in improvisation, quick wit, reacting to live feedback, and effective on-camera interaction.
• Actors seeking to broaden their career: Recognize that stage experience does not guarantee success in other performance contexts. Targeted training and experience in the desired field are necessary.
• Performance training institutions: Incorporate training modules that address the specific challenges of live television and other performance domains beyond stage acting. This complete training that balances traditional acting skills with skills applicable to various media is quite valuable.

WTN: What advice would you give Paola Volpato based on the experience?

Dr. Sharma: First, it’s crucial to acknowledge that even the most seasoned professionals have challenging experiences. Paola Volpato should reflect on the specific aspects of the performance that caused difficulty. This might include seeking feedback from more experienced television hosts or professionals in broadcast production. Addressing potential issues such as managing stage fright using proven techniques, and obtaining specific training in live TV hosting, are valuable steps. Importantly, this experience offers a valuable lesson in resilience and adaptability for her future endeavors.

WTN: Thank you, Dr. Sharma, for your insightful commentary.

In closing, the Pulido-Volpato discussion illustrates the diverse skills necessary for successful performance and the subjective nature of audience interpretation. This conversation highlights the critical need for complete training and adaptability in the ever-evolving world of media performance.what are your thoughts? Share your comments below and join the conversation on social media!