The "wires" why now?
CA: I open a show in 1995 that was called "the magic of puppetry." Since then I have been building this so-called wire. It's new. It is a national debut. In Portugal puppeteers have much value, but they do not present their work as I do. It's like a variety show. Not a story per se, so I can captivate an audience younger and more mature and interact with them permanently. We will have a skeleton with a black light to the mix that will decompose. In fact, this character has been the delight of children, in the end, if you asked them what puppet they liked the most, they always answer the skeleton. I added a stripper, a chicken and an ostrich.
Created independent characters?
CA: That's right. I'll have a pianist who while accompanying an opera singer. A cat will play harmonica, a very friendly monster who will welcome the public, instead of a chaperone. He is going to do some mischief, he is asking the public to switch off mobile phones before the show. In the "wires" there will be a debut, I'm not the only one to manipulate the puppets, and I have someone with me for ten years, always as an assistant and we will make this experience in this show or two puppeteers at the same time.
Does manipulate puppets limits your work as an artist?
CA: It does not limit me, quite the contrary. Notice is not to be liberating, I created this show because it reaches the largest possible number of people in a land of tourism such as ours and after the experience I had abroad. Fits any type of public.
Wire why?
CA: A puppet to gain life needs wire. It's funny because it grows. The actual construction of the scenario will occurred throughout the show. It begins with several wires hanging, only then will put the dolls as they finish their participation, are being placed on hold in these wires. But people are concentrated in this puppet act, I am handling, while my assistant puts the doll that just came out of the picture, under a dim light that will only open when the show ends.
Making a retrospective on your career, you played in a Portuguese soap opera, what brought this experience?
CA: All experiments in television are always new and enriching. Be with other actors, with the directors, or even the production assistants. It's a constant learning. Everything counts. These experiences in a particular time in my life has been fundamental to what I am today as a human being, because I have a different view of a person who never had them. It has been very good to me as an artist, actor and teacher in the message that I pass on to my students.
So how do you take this experience to them?
CA: They are rapt when I tell some stories. The concrete examples. At first, this learning was very difficult. From 1997 I saw the result of that work thru the exchange with other countries in which these students realized that I was right. In fact we are "bugs of the bush." I myself felt the need to leave the island, to put into practice all my desire to be an artist. It was encouraging, coordinated teams during a season, an artist of casinos in the Algarve; this was done with different teams from different nationalities.
Yes, but if the students want to pursue an artistic career they have to leave the island or not?
CA: Have less need since the time I left. There is an excellent work that is being developed by the Regional Office of artistic expression and a number of organizations and institutions that are unfolding a very creditable work in this area. What I notice is the lacking some rigor at the level of presentation and possible orientation of these actors, they lack "a teaspoon." This has to do with education.
Of the public?
CA: No, the kids themselves, who seem to have no idea which different experiences must have and be well oriented in that direction. There are producers who have this care, to emphasize certain details that are critical in the career of an artist. I fortunately had much luck at this level. I worked hard, but I had the pleasure of contact with fabulous people, Pedro Jose Vasconcelos, a great national producer, Ray Geoffrey is a wonderful director of actors. I try to pass this information to the students.
So they are afraid to leave the island is that?
CA: They want to, on one hand is fear, on the other hand, Madera looked very little to its artists. I speak from experience the doors were all closed when I returned. A lot of people who owe this return, was the current regional secretary for tourism, Conceição Estudante is a very important person in my recovery after having returned to the island so I have a great esteem for her.
It is because there is not a mentality facing culture? The fact that we islanders as a people don't like changes?
CA: A little of both. The world is changing and globalization greatly contributes to this and we have to deal with it.
And now those doors are more open?
CA: Much more. The trip I made to the exterior had to be done from zero here. Today I am recognized for my work, not only of the puppets, as in drama and animation. Maybe it is this preparation, these features that people are not trained to deal with. Madeira hotel in terms of animation is very poor, a pianist playing that's it. There are no entertainers in hotels, the places where I went, in the companies where I worked, if I ever wanted to leave the island today I had my place guaranteed. A few years ago, I coached an entertainment internship, a hotel group, in which the program was to develop activities on the pool; believe it or not, the director told me that the student would carry out the plan dressed with pants and shirt. That is archaic, does not exist. Our competing destinations work this aspect very professionally, just go to the Canaries where everything happens, there is a program for children, for teens, for seniors and we compete with them in what way? However, there are good examples. There is a resort, the Enotel, which is betting strongly on hotel animation, is building a team. This has always been my dream since I came up to Madera. It has not been possible. We have a lot of talent in these areas, unfortunately the hotels are not prepared to give guidance to these entertainers. There has to be a responsible to make decisions and proven experience, what happens is that the person responsible are the responsible for the drinks, or the director of the hotel, which is a blunder. It was important to quickly realize that it is necessary to invest in hotel animation, because there is much incompetence.
Lack of knowledge?
CA: Yes, and vision. Currently, hotels are turning to local artists, but obviously do not want to pay, or may not. I ask, what happened in the past? Artists from outside were better than us? They are not. But those who had passed through here had lot of quality, I recognize that and give them the credit and was undoubtedly an asset for us and for the general public, however, we have a lot of quality that has always been here in a second or subdued third plan. Now, they are not strong financially, but more grave than that is saying they do not have money, so I impose the question and when they were before?
