Theater creation laboratory

The laboratory will focus on the personal development of each student, respecting their individual process. 

We will seek to place ourselves in a constant game mood, halfway between desire and fear. The games and dynamics will revolve around:

  • STAGE PRESENCE
    What draws the public's gaze? What do I transmit without having to do anything?

  • BODY, MIND AND VOICE
    The constant relationship between body, mind and voice hosts a multiplicity of emotions, contradictions, thoughts and actions that cohabit in a living scene.

  • HONEST LIE
    What happens on stage is a fiction, a lie, but if the artifice is not honest it will cause the audience to distance itself. How do I engage with the scene to generate a new reality?

Información práctica sobre el laboratorio de teatro

Waiting for new dates.

An intensive weekend
16 hours divided between
Friday saturday and sunday.

MORE INFO
candida.anonima@gmail.com

Tel. 658 911 618

The sessions will consist of…

  1. MEDITATION AND SELF-AWARENESS
    We land in the here and now. 

  2. HEATING
    We put our brain at the service of our wise body. 

  3. ACTIVE LISTENING
    We enjoy games and dynamics that stimulate group listening and creative intuition. 

  4. IMPROVISATIONS AND SCENES
    We lay the foundation to go out on stage and let the scene happen. 

 

We will culminate the course in June by doing an exhibition at the Sala Fénix in Barcelona.

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Because?

After a few years creating with the company and teaching acting classes at different schools, I have discovered that the energy exchange between creative bodies fascinates me. Not only that, but I have the firm conviction that art, the expansion of the inner artist, connects us with the world in a way in which empathy multiplies and love is born.

Everything that happens is part of the creative act, judgment remains in the background and the relationship with the other and with the space becomes a possible scenic device.

 

The craftsmanship

As an actress, I have been storing different techniques and “tricks” that have allowed me to sustain and amplify the energy on stage. It's what I call craftsmanship because I consider that there is something of that in interpretation, working detail by detail on the scene, the character, the breathing, the body, the intention. Once intuition opens the way, generating a device that works, I dedicate myself body and soul to landing what happens to character

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