Figueres a Escena

How We Choose Guest Artists For Our Masterclass Series

At Figueres a Escena, a masterclass is more than a visiting professional delivering a polished presentation. It is a meeting between an artist, a local community and the creative life of Figueres. Our venues, Teatre El Jardí and Sala La Cate, give guest artists different settings in which to share methods, stories and practical knowledge with children, emerging performers, teachers and experienced practitioners.

We choose artists who can open a door into their discipline while remaining generous, curious and attentive to the people in the room. That may mean a theatre director working with ATEB students, a choreographer exploring movement with adults, or a touring musician explaining how a live show is built. The selection process considers artistic excellence, teaching ability and the lasting value of the encounter.

How Artistic Fit Shapes The Invitation

Our programming begins with the season as a whole. We look at the balance between theatre, music, dance, cinema, opera, circus and family work, then ask which creative voices could deepen that programme. A guest artist may be connected to a performance at Teatre El Jardí, or may bring a completely different perspective to Sala La Cate.

We also consider whether the artist’s practice speaks to our local audience. A masterclass should feel relevant without being predictable. A puppeteer, for example, might explore object theatre, visual storytelling and the relationship between performer and audience. We are interested in artists who can make their process visible, including the experiments and decisions that sit behind the final work. Resources such as puppet theatre practice can help us think about the wider possibilities of this form when shaping a session.

Reading The Artist Beyond The CV

A strong biography is useful, but it cannot tell us everything we need to know. We look at the quality of an artist’s work, the range of their collaborations and the care they bring to rehearsal rooms. We also seek evidence that they can explain complex ideas in clear, welcoming language rather than assuming everyone shares the same training or vocabulary.

The artist’s approach to people matters just as much as their awards. We look for patience, flexibility and a willingness to listen. A masterclass can include a professional performer, a teenager attending their first workshop and an adult returning to the arts after many years. The best guest artists can challenge participants while making them feel capable of taking creative risks.

Making Space For Different Practices

Our selection process values varied artistic methods and lived experiences. We want artists working across forms, generations, cultures and career stages, including those whose practices do not fit neatly into a single category. This might include a dance-maker combining spoken word and movement, a director working with documentary material, or a circus artist exploring trust and physical awareness.

We also pay attention to access. Artists who can adapt exercises for different bodies, confidence levels and learning needs help us build more open sessions. We consider language, sensory requirements, venue access and the pace of the day before confirming an invitation. Inclusion is part of the artistic decision, not a separate administrative task added at the end.

The Qualities We Prioritise

Our discussions usually return to a small group of practical qualities. These help us compare very different artists fairly while leaving room for instinct and discovery.

Artistic And Teaching Signals

Practical Checks Before We Confirm

Building A Programme That Travels

Guest artists often arrive as part of a broader touring circuit, so we need to understand the practical realities of movement between places. Figueres is well connected within Catalonia, but an artist’s route, equipment and recovery time still affect the quality of a workshop. We plan carefully rather than treating travel as an afterthought.

This is familiar to Australian arts organisations, where a guest artist may travel between Sydney, Melbourne, Brisbane and regional centres over long distances. A workshop in Bendigo, Newcastle or Western Australia can require very different budgeting and scheduling from one in a capital city. The same principle applies here: we want artists to have enough time and energy to meet participants properly, not arrive exhausted and rush through a standard presentation.

Local audience habits matter as well. Australian participants may describe a relaxed afternoon session as an “arvo” workshop, while families often plan around school holidays, weekend sport and long travel times. In Figueres, our calendar has its own rhythms, and we look for formats that respect the routines of schools, families and community groups rather than assuming every audience can attend at short notice.

Preparing The Masterclass Experience

Once an artist is invited, we work together on the shape of the session. We discuss who will attend, what they already know, what they hope to explore and what should remain open for discovery. A masterclass might combine demonstration, conversation, practical tasks and reflection, allowing participants to encounter both the artist’s finished language and the process behind it.

We also connect the visiting artist with the people who make the local programme possible. ATEB teachers may advise on age-appropriate activities, venue staff may identify technical solutions, and community partners may help reach participants who do not usually attend cultural events. This preparation creates a bridge between the artist’s practice and Figueres rather than placing a temporary activity inside the city.

For dance sessions, we consider how movement can be introduced safely and inclusively, whether the focus is contemporary technique, choreography, improvisation or performance presence. Our wider programming research, including this dance genres guide, helps us explain the context of different approaches without reducing a living art form to fixed labels.

Reviewing Impact And Future Relationships

After each masterclass, we gather responses from participants, teachers, venue staff and the artist. We look beyond attendance numbers. Did participants feel able to contribute? Did the session lead to new questions, collaborations or confidence? Did the artist gain a meaningful understanding of the local community? These reflections help us improve the next invitation.

We also consider what remains after the guest has left. A useful encounter may influence an ATEB class, inspire a new rehearsal, shape a future performance or encourage someone to return to the venue. Sometimes the result is a continuing relationship with the artist; sometimes it is a new connection among participants who met for the first time.

The selection process therefore continues beyond the initial booking. We keep track of artists who respond thoughtfully to feedback, support local learning and bring fresh energy to the city. A successful guest artist is someone whose visit expands the artistic possibilities around them while respecting the people and places that make the encounter possible.

Our masterclass series is built through these careful choices: artistic quality matched with generosity, ambition balanced with accessibility, and international or touring experience grounded in local relationships. Discover upcoming performances, workshops and learning opportunities through Figueres a Escena, and take part in the conversations that keep our venues active, welcoming and creatively connected.