A chat with Marcelo Bones.\u00a0<\/b><\/span>Theater director and with positions of responsibility in the cultural policy of Brazil, believes that MAPAS is "creating another way of relating and intervening in art."<\/b><\/span><\/p>\n

A Brazilian who has lived and who lives the performing arts from all possible angles (acting, directing, teaching, management ...), a person convinced that companies and producers have to bet on training so that their work can go out to new markets and consolidate.\u00a0\u00a0<\/span>He is in Tenerife (Canary Islands) giving a cycle of free workshops within the framework of MAPAS, Mercado de las Artes Performativas del Atl\u00e1ntico Sur that next July will place Tenerife at the epicenter of live arts in southern Europe, Africa and Latin America.<\/span><\/p>\n

Question (P). Why is the training of artists, companies and producers important to internationalize the performing arts?<\/b><\/span><\/p>\n

Answer (P).<\/b><\/span> It is important to have specific training to face business events, fairs or markets. They have very short times to talk with the programmers and be able to tell what we do, and for this it is important to plan how we are going to do it, it is essential. This training will give us the possibility to do it effectively, so that it can be a generator of tours, exchanges or productions.<\/span><\/p>\n

Q. What are the common weaknesses between artists and companies?<\/b><\/span><\/p>\n

R. <\/b><\/span>Normally, companies worry little about planning these topics, since they believe that simply talking to a programmer he will be delighted and will hire us on a tour, but reality shows that this is not the case. A meeting in a market, an appointment or an interview are the beginning of a professional relationship and this cannot be left to chance. We have to be very clear about our objectives.<\/span><\/p>\n

Q. How are the workshops you are teaching structured?<\/b><\/span><\/p>\n

A. It is about tutoring Canarian groups through meetings of an hour and a half, in which their work structure is discussed, what materials they are preparing for their appointments with the programmers ... Then, in May, we will have a new meeting via telematics, where I will make contributions about their work, and before MAPS, we will meet again, to address the profiles of each programmer, each festival, each room. The goal is for them to be as well prepared as possible for the MAPAS business rounds.<\/span><\/p>\n

Q. It is a kind of accompaniment ...<\/b><\/span><\/p>\n

R.<\/b><\/span> Yes, it is an individualized accompaniment, which allows us to know their problems and vulnerabilities but also their strengths and strengths. And from there, design an almost exclusive strategy to address your encounters with programmers.<\/span><\/p>\n

P. Given your extensive background in the world of performing arts, what do you think MAPAS contributes?<\/b><\/span><\/p>\n

R.<\/b><\/span> MAPS shows us a very interesting path, a path of encounter between three sister continents, but often with their backs to each other. MAPAS offers a possibility of exchange and integration through art between Latin America, Europe, mainly Portugal and Spain, and Africa, which are under a common roof.<\/span><\/p>\n

P.\u00a0 <\/span>And what value do you give to the Canary Islands and Tenerife as the setting for this meeting?<\/b><\/span><\/p>\n

R.<\/b><\/span> It is curious how the Canary Islands, from its geographical position, has launched itself into this challenge, how from the vulnerability of these three continents we are creating a possibility of building another way of relating and intervening in art. MAPS and the Canary Islands play a fundamental role in bringing these three continents closer together and, through art, uniting their peoples.<\/span><\/p>\n