Rita Riviera - artistic director
Art has always been a big part in Rita Riviera’s life. Having studied guitar and music from an early age, Rita, a resident of Buenos Aires, Argentina, has always felt an artistic affinity to her existence. As a teenager, she studied modern and classical dance at the Escuela Nacional de Danza and acting with renowned performers at the Escuela Nacional de Arte Dramático at Buenos Aires.
She accomplished a very fulfilling career as a dancer and actress, studying and later performing with Ricardo Passano, one of Argentina’s most beloved actors, sharing with him a leading role in “Alma de Garrick”. She continued her studies with several internationally acclaimed professionals such as Joy Morris, Madame Sirouyan and Nick Navarro, among others.
Later, she began her career as a choreographer with “La Tiendita del Horror” - based on the highly praised “Little Shop of Horrors” by Ashman and Menken - nominated for several awards. From continued to nurture her passion as an artistic director and executive producer by producing/directing numerous shows, as well as launching events for international companies such as L´Oréal Professionnel.
Needless to say, Rita Riviera’s field of expertise is high fashion and haute coiffeur. Her trademark is an exquisite sense of aesthetics and innovative creativity, for which her marketing campaigns are renowned. Her work is known in France, Korea, Italy, Mexico and Brazil.
Currently Rita Riviera directs RR Producciones, her own organisation through which she keeps sharing her passion with the public and enterprises.
Rita has a passion for journalism also. A former student at the Escuela de Periodistas del Círculo de la Prensa de Buenos Aires and recently launched her own graphic media, Mundo Madero Magazine.
(Please refer to the bottom of this page for useful links related to the field of Marketing)
Accademia Apulia UK has asked Rita Riviera the following questions:
It was my passion for art -in all its expressions - that motivated me to become an Artistic Director. When I organise events or promote brands I always combine this passion with my professional training to get results.
My decision to get into the business started when Fashion Designer Paco Rabanne, hairstylist Alexandre de Paris and Director Jean Luc Minetti came to Argentina. I had the pleasure of working with them at a presentation held at the Opera House in Buenos Aires. The show included some of the best Fashion Designers in Latin America that sure added to a most captivating atmosphere: the combination of such fine international professionals put on a breathtaking show: this is what sells beyond all expectations.
In synthesis: a successful event depends on the interaction of good planning, good product knowledge taking into account the customer-product-type equation – all of which is summarised by powerful visuals. They bond with the audience arousing their enthusiasm and curiosity for what is being marketed.
Conveying such creative chemistry to any audience, taking into consideration both artistic and technical factors, is what I consider to be the most attractive and fulfilling aspect of my job.
You are in charge of the organising big events, from the choice of the location and music to the selection of scenography and decor. How do these elements combine for each show to be a success?
Choosing the spot where the show is to take place is done together with the client. This is the first aspect to take into consideration, bearing in mind the theme of the project, the audience and the product being marketed. All of these aspects translate in the final product, the show itself. My input as a Director is largely governed by the main idea, or theme behind the event. This theme is dictated by a company’s product and philosophy; this is why it is vital to fully grasp the client’s brief.
What takes place on stage – performers, models, videos, music, etc – is largely dependent to what happens back-stage: if something goes wrong back-stage, it will inevitably reflect on-stage. Therefore it is crucial that all aspects, front and back-stage, are carefully planned to deliver a successful show.
How is a show planned in relation to a specific product?
A product or brand can be promoted by using different types of events: launches, promotional tours, seminars, art initiatives, mega-events, etc. Once the company decides which, the job starts.
The first step is to know the client’s objectives, not only regarding the product/brand and its characteristics, but also the show itself. Once the client’s expectations and the product/brand information are well established can our planning work begin: setting an idea, a theme, scenographic and atmospheric requirements, artists and technical among others.
Colours, music, videos, backdrops and wardrobes will characterise the product or brand that is being promoted, which in turn will define the promotional campaign, the advertisements, and, of course, the show itself.
You have carried out promotional events for many well-known brands such as L´Oréal and Puma. Could you tell us more about these commissions?
Each promotional event I have done with them has been centred within their institutional image and philosophies as well as bearing in mind their promotional strategies.
The events carried out with L´Oréal Professionnel and its different brand departments were destined for the annual promotion of their new Collections regarding new trends in hair fashion: colour, cut, style, including wardrobe and make-up. The number of people that take part in their events ranges from 1500 to 4000 people and take place in prestigious cultural spots. For example, Puma’s events, focused on famous sport celebrities, required specific choreography based on sport.
Working for such important clients has been truly enriching. They trusted my work allowing my creativity to flow with no restrictions or limitations. Needless to say, they have always been very pleased with the final result and how it positively affected markets.
Which is the best marketing strategy under the present economic climate?
At times of crisis, publicity and promotion should still not be neglected and be carefully planned not only to assure commercial activity, but also to maintain a constant presence among the public; which is regarded as a springboard to rapid growth once the crisis cedes.
A good artistic event will impress the emotional memories of any audience, and therefore will keep a brand or product alive within every observer. And being always present and active with an advert is important, for the public will act upon it when choosing a product over another.
What is your definition of marketing?
To me, marketing is not only promoting and selling products or services through market research and adverts. My work consists in converting each promotional campaign into something bigger and greater. A show needs to give life to every product, but, more importantly, it needs to conquer the public’s confidence with a clear and consistent message. Every effort must also be made to ensure the public fully appreciates what the company has to offer. If all of this is successfully accomplished, then I have done a good job.
Have you ever organised any shows in Europe? Is there difference in style between European and American events?
I have directed from Argentina the scenography, choreography and design of different productions for presentations in South Korea (Seul), France (Paris), Italy (Bologne), Mexico (DF) and Brazil (Itaparica). Each event gave amazing results thus showing the importance the harmony amongst dedicated staff working towards a common goal.
One of the differences between European and American events stems from a difference in technological resources, which prove to be greater in Europe. However, it is only fair to say that event management can be more attentive in Latin America.
Teamwork also tends to vary in each place. While in Europe everyone has a very specific role and sticks to it, in Latin America we find that people’s roles are more multitasking and their job descriptions less specific. Nevertheless, as I said before, the result is always of praised excellence in both cases.
You have worked with Argentinean actor Ricardo Passano whose career in film and theatre spans over sixty years. What has this experience taught you?
I first met Ricardo Passano at 19 – he was my first acting teacher ever. Years later, he gave me the honour and privilege of choosing me to share the stage with him in the play “Alma de Garrick” (Garrick’s Soul) inspired by a poem, “Reir llorando” (To laugh whilst crying), by Mexican writer Juan de Dios Peza, This poem makes reference to an English actor’s life - David Garrick’s – l, who possessed an incredible histrionic ability to cure depression as well as being able to grant the will to live.
I’m not sure whether I have the right words to define this experience – I am not sure I can fully describe what my heart felt by working alongside Ricardo Passano. His personal and professional qualities would enrich the soul and talent of anyone who would come in contact with him.
I truly feel I have accomplished a dream: Working with “el Maestro”!
He will stay with me forever, in a very loving place in my heart.
I would like to pay a humbler tribute to him and share it with all of your readers and the actor that lives within your soul. In Juan Dios Peza’s own words:
“El carnaval del mundo engaña tanto,
que las vidas son breves mascaradas;
aquí aprendemos a reír con llanto,
y también a llorar con carcajadas.”
(“The carnival of the world deceives so much,
that lives become just brief masquerades;
here we learn to laugh with tears,
and also to cry with laughter.”)
What is your message to the youngsters who are pursuing a career in your field? Where should they start?
Fully grasp the objectives that you aim to achieve. Always use common sense and trust your decisions - with hard work you are bound to accomplish your objectives.
Where to start? Once you finish your studies, try contacting producers and directors, doing internships and working alongside them as assistants or coordinators. Learn from them and gain experience in different areas, as well as facing up to any challenges on the way. Share a passion for the logistics, the direction and the production of an event, but do not neglect the artistic and technical dimensions. Further, identify technological needs and manage these taking into account artistic factors.
But let me tell you something: A real professional, besides his experience and background, is someone who can maintain his amateur spirit intact; that is, the same humility and eagerness that took you to the start of your journey. As my beloved teacher, Ricardo Passano, used to say:
“Humility is the talent of the great”.
I keep these words in my heart, and never fail to repeat them to myself. I share them with you with total certainty of their effectiveness.
Accademia Apulia UK suggests the following links for a career in Marketing
Central School of Speech and Drama
