The artist's work is always presented in his final showcase, as a condensate of the successes in the creative process, and it is the same that reaches the public in its entirety and immaculate for its appreciation. Having the opportunity to meet fellow artists and learn about their processes, at some point the path crossed with the actor, director and theater educator Juan Pablo Mazorra who is originally from the city of Puebla, Mexico.
His interest in different theatrical languages leads him to live in Spain. On his way, he has stepped on prestigious places such as the Institut del Teatre and the Moveo center in Barcelona both. He is currently an actor in one of the oldest independent theater companies in Europe, Els Joglars.
Mazorra is also founder and artistic director of the independent theater company It seems silly and theater pedagogue. In 2018 he received the best actor award for the monologue “MIGRANTE” at the IX MUTIS Independent Theater Festival. I was able to talk to him and this is what he told us.
Alejandro Barreto: Why did you choose theater as a profession and what commitment do you acquire with it?
Juan Pablo Mazorra: Because honestly, the actors like to feel exposed, to tell a story where the protagonist is, to feel the interaction between the public and the message you are giving. It is a game for two, the actor and the public who have paid to come see you, it is an act of communion. I like when I act to see the faces of the public, the gestures, the breathing, the laughter, that fascinates me.
Now, although it sounds idyllic, I think the theater will change the world, or at least one world, that of a person. I imagine it when people approach the end of the play to congratulate you, give you their points of view and know that perhaps that day they will come to your house and during dinner they will tell something about what they felt or reflected thanks to a play. People who go to see him attend with an expectation, at least hang out, and that is a good time to tell him that apart from having fun, we are going to reflect on a subject, or I am going to raise the concerns that concern me, because in the end the theater does not pose answers, only questions. The theater modifies in many ways, I feel a better person thanks to it, it is a job to empathize, it forces me to put on the skin of a character, understand it and not judge it.
AB: In what situation is the theater?
JPM: I have had the privilege of stepping in some countries and during my training I have been able to exchange ideas with people of many nationalities, and it is sad to recognize that the common one when speaking about the theater situation is always complicated and uncertain. It seems that artists are one of the last links in the human chain. The common denominator in Mexico, in Spain and almost everywhere, remains the same: miserable payments, lack of interest on the part of government programs for the arts, the little habit of people to go to the theater, theaters that they are forced to close, non-existent contracts, late payments…. No one is wrong to say that this is a true profession of resistance.
AB: Why did you decide to go abroad to develop professionally?
JPM: The main reason I came to Spain was to study. I wanted to become a professional in a very specific type of theater and his study in Mexico was complicated and / or non-existent. It was a postgraduate degree in theater and education, and a diploma in dramatic body mime and physical theater that made me travel to Europe. While living here, the theater company Els Joglars called for casting and after a long process of filters, they hired me, so I had the opportunity, at the end of my studies, to continue living in this country.
AB: The concept of migration has become part of the discourse of your work. How do you live that reality?
JPM: I consider that many of the personal works that I develop as an artist are always permeated with a strong need to talk about a social problem because I consider that every artist is a political being. With the work “Intermittent” we ventured to talk about youth suicide, with “that place that no one hears” about violence against women, in “Tafus” about mourning after death … and not that migration has become my speech overnight. I think that being Mexican and not having the word migration in your head, is because you live in a very privileged way, or because you have not wanted to look at the reality around you. The idea that someone has to leave their birthplace, for whatever reasons, has always been something that I have thought about a lot; But until I became part of this statistic, it was that I decided to turn that idea into a show. This is how “Migrante” was born, one of my personal projects to which I have devoted the most time and what more satisfactions on a personal and artistic level have it left me. As artists we have a great capacity to migrate, I wish no one had to do it for survival, but for pleasure and curiosity to discover the world.
AB Is your apprenticeship as an actor, playwright and manager in Spain contemplated to be taken to Mexico?
JPM: The few times that I have returned to Mexico to visit my family, I have managed to always teach some workshops or share some of my work; nothing would make me happier than working in Mexico. I would love to be invited to direct a play, take a show of mine on tour there, or go and teach. I am eager to return and contribute my grain of sand, modify and give a different point of view in the theatrical situation of my country.
If you are interested in following his work you can follow his facebook page.