WORKSHOPS
physical theatre for dancers
Theatre training based on exercises that generates creative answers from the dancers to concrete scenic issues and explore their skills and limits. The results could be subject to a deeper treatment. A work that prompts and fosters the needs from the artists and its own world possibilities as well as explores the borders between dance and theatre. [PHYSICAL]
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acting through phsyical theatre
Different aspects of acting are covered during intensive session time through physical theatre exercises that emphasize the role of the boy as the main tool for an actor, the body understood as a comprehensive and organic function. Those exercises are as well inspired by various mixed techniques. [PHYSICAL]
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dramatic text & phsyical theatre
Different aspects of acting are covered during intensive session time through physical theatre exercises that emphasize the role of the boy as the main tool for an actor, the body understood as a comprehensive and organic function. Those exercises are as well inspired by various mixed techniques. [PHYSICAL]
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training for actors
Better than teaching, let’s understand the development of an actor as a training, looked at a never ending series of challenges that may help him to explore his abilities and update his experience, always ready for facing any kind of work. [ACTING]
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dramaturgy for performers
More and more, actors and dancers get involved in the creative process of a performance, either as leaders of the production or from their own sphere as active members which contributes meaningfully to the concept of the show and influence in improving the result. That’s why an approach to dramaturgy may enrich their conscious knowledge. [DRAMATURGY]
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dramaturgy of the movement
Not only composition or the study of some basic drama rules, but the aim of explore how movement could became meaningful in a theatrical context, how would be possible to build a performance from the work based on the movement. [DRAMATURGY]
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dramaturgy for playwrights & translators
To discuss a frame in which any author may show his targets and his own world or what may guide a translator to rebuild a play in other language. A supply of tools that should drive them to express and set their creative intentions and purposes in the clearest and most powerful way. [DRAMATURGY]
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writing drama
A practical writing workshop in which the participants have the chance to compose their texts from concrete proposals that face them up to specific drama issues and share them with the other members of the group who may contribute with a representative critical feedback in a constructive way. [WRITING]
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acting with masks, puppets & objects
Exploring all the possibilities for an inanimate object to become alive thanks to the actor’s work, with his voice and his body, not only with the purpose of making them play but play with them in a fascinating exchange of roles that may let the actor get some caharecteristics from the puppet. [ACTING]
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theatre for children
Whatever the aims may be, such as pedagogical or just recreational, children have a huge and surprising own world ready to be listened and theatre is an excellent tool that we can offer them to perform that world in a warmer atmosphere with the most top-quality resources. To do theatre with children is to take their games seriously. [EDUCATION]
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teaching languages through theatre
Drama techniques are an excellent option to teach and practice languages using the powerful motivations that such techniques use to offer to many people, for example, students in High School. They enjoy the drama sessions and not only perform a text in another mother language, but rehearsal, discuss and participate using it in real life situations. [EDUCATION]
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theatre training for high school teachers
Those teachers who, for any reason, may lead a team of students and do with them a theatre work without having a proper knowledge or experience will appreciate to obtain professional support that can give them the techniques and tools wich may guide them throught their task with the students. [EDUCATION]
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clown inside
A training based on a practical research on actors who feel close to clown techniques. The purpose is to find and bring up to the surface their clowny side, trying to face that question out of the traditional acting strategies, do not come the clown up as a theatrical character, but as a personal and unique side of every actor with an exclusive personality. [ACTING]
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acting techniques for singers
Strategies for including singing techniques in the grounding of an actor or actress with the point of view of acting. The task should be include a song in the esence of the character and achive the aims of a concrete theatrical situation, facing the lyrics and even the music as a text, which has to be armonize with the whole, as in a common play. [ACTING]
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study of theatre characters
A training focused on the study of a character, from two different sides. One from a character that already exists and the other from the chance to create one based on the trainee creativity. The inside and outside composition, the tools for structuring and performing it, and the testing with other characters to enrich the process with the interchange. [ACTING]
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emotions on the stage
An intensive work proposal to explore how and when is the optimal way to deal with the emotions when needed in the frame of a play, in theatre or even physical theatre, exploring conscientiously the borders of every single implication, trying to define the truth for an audience we want to reach without breaking the rules that make the process professional. [ACTING]
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exploring a play
The OPEN DOOR programme, which offer an existing team or company the chance to approach and explore a concrete play in order to discover and experiment strategies for its real staging. After a guided analysis and with an agreed main dramaturgical lines as a starting point, the process shows how the play could be faced, understood and staged. [ACTING]
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dramaturgy for musicians
An special proposal for composers and musicians who might be interested in producing music for the stage, not only under the rules of a musical, but when incidental music is needed or when it’s required a selection of pieces to complement the composing work. How to work with actors and directors, and how to build their work in permanent link with the rehearsals. [DRAMATURGY]
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acting through objects & physical action
A deeper approach to the Method of Physical Action emphasising the use and power of the objects for building not only a theatrical situation, but a character itself, an moving forward to the use that the director may give them for giving the play different levels of meaning, exploring the metaphoric and symbolic and redevelop the reception of the play. [ACTING]
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