Andrew Jones, Senior Adviser of the British Council Drama and Dance Department and Edinburgh Showcase Co-Supervisor, shares his invaluable experience

• If a performance is not a masterpiece of art, which combines high quality with technical and organizational professionalism, it has no future.

• You must be willing to invest time, energy, and money into development of your contacts and building of your reputation, as well as aсquire and implement remarkable organizational skills, in order to be able to keep up with the required pace.

• You should be able to determine and explain the unique qualities of your product to a potential customer, be it a stage performance, or a creative work in progress, or the unique art skills of those people who are working on the show.

• You have to be fully aware of the fact that various circumstances could partially (or sometimes entirely) determine decision-making process, e.g. the political situation, target audience, sponsor interests, changes in the profile, special events, etc.

• Do not expect that you will be given a chance before you prove that your work worth something and that you are reliable and decent partner. You must be confident and proactive, in order to win the favour of the potential partners.

• Your perception of the international art market and the opportunities to present your work there, may prove to be false.

• Do not regard the international artistic world as a gold mine. Rather focus on a positive side of encountering new challenges and gaining new experience. Work on making connections and try to develop them into long-term cooperation.

• Do not “sell snow to Eskimos”: international theatres usually favour foreign works that may contribute something to their repertoire, attract the audience, and teach local actors new tricks that they haven’t learned yet.

• If you found the right combination of all the components, and the theatres want to continue cooperating with you, do not change the repertoire too soon or offer them totally different works which they won’t be able to sell to the audience.

• Do not take your colleagues as competitors. Just be a part of an international art team and try to give your partners a professional insight into other performances which suit them better, in case your offer didn’t work for them very well, or they have no opportunity to show it to the public.

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