How do you make this work self-sustaining?
AB: It is not self-sustaining, because there is a state support. We develop a creative and original performance; we do not have a language in which the words are present. It allowed us a great international roaming in the background and shows also contribute in some way. We do a lot, about 70 to 80, half of which is outside the country; this is a very important aspect for the Circolando now, incidentally, has always been, since there is an institutional recognition. Without this support from the state’s secretary of culture would be impossible to survive.
This itinerancy has resulted of the awards in international festivals?
AB: I think it resulted more because we are a bit exotic for being from Portugal, a country with few groups to circulate in festivals. There are few that make these international circuits. Then we have an agent in Barcelona that help us a lot, which promotes our work in places with some visibility and there are new opportunities. We have a relatively large circuit, in the level of street theater and unconventional.
So, this component is present since the beginning of the group?
AB: Yes, we have a show running since 2003, Charanga, which is the most distant in time, but the rest were always shown for four to five years. The creative process is not ended at the premiere. It is one of the great advantages of those who see our show, they grow much over time. You are always being changed, with the experience and contact with the public. An in analysis over time allows us to improve some aspects.
There is a difference between urban and rural public?
AB: We are a more urban, but the few villages where we were, there is a difference. These are outdoor shows, are widely available for mounting the stage. In a small land is easier to mobilize people and we ended up talking to them. In the city, we not communicated in this way, people are more disturbed, everything moves faster.
You make a distinction between creations and satellite, what are the differences?
AB: The difference is that Circolando has an art direction, me and Claudia Figueiredo, are projects that take advantage of the structure of production and construction of the permanent teams we have. Adding a little of the knowhow of some people who we invited to work with our group. For the board, we must not create because we must, but because we have the need to create. In twelve years, we set up nine shows. It’s not even one per year, because there is ample research, is not a do it because it has to be, is because we want, but it's only a very long process of testing and rehearsals, but also of thoughts.
That’s the difference to satellite, because you split work?
AB: Yes, because some are not directed by us. Those who began the Circolando. The rest are artists associated with our group
From all these projects which was the biggest challenge?
AB: It was the Girofle, the second project that we set up. It was an enormous leap, with only twenty or so years, relatively little experience in theater, we decided to do a show which marked the company a bit and maybe the performing arts in Portugal.
What then was the innovating component?
AB: Innovating was the scenario. It was a cage with nine feet high and twelve across. For the dimensions we set forth the greatness that the show had. We invented a lot in terms of techniques and disciplines. It was a very creative and innovating project for the certain ignorance we had. We invented that anything was possible and it was.
What is the future of circolando, in addition to performances that are being made at the time?
AB: One of the advantages that have Circolando does not predict the future. Living it is. I do not know what will be doing for the next two years, there is a need for risk and invent projects that we have not done.
It is a creative process at all times?
AB: Yes, but what matters above all is if we do not have the necessity to create, so we won’t. I am an artist now, but I do not see me as a public official. It is not an eternal profession. I do not want the same as I did five years ago, I cannot, and I have to evolve. Find new ways, new forms of expression.
What is your opinion about how culture is managed in Portugal?
AB: My opinion is that culture is not managed. One of the issues that the Circolando is facing that here is not support to move overseas. Each time we feel it more, aid does not exist. With little support from the Government we could do a much larger circuit and we cannot compete with the French and the rest of Europe that has strong support for travel and culture abroad. There is no structure, everything is always changing, it is a political issue, they are always looking out for them self, instead of creating a global strategy on a national level and that does not exist.
