Aimed to:

This course is aimed to artists and creators in the performing arts, such as circus performers, musicians, dancers, actors, actresses, etc.

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In this course we will work largely from improvisation in individual and group exercises. The work from improvisation is very interesting in the creative processes, because it helps us to create bridges between our subconscious and our conscious, helping us to deepen in ourselves, to understand ourselves more and to be able to better manage what we deliver to the public from what we have inside.

An important part of this course is based on discussion and reflection. The intention is to create a debate based on exercises in order to reflect what we work and why. To analyze personal  and colleagues work looking for answers to why we put ourselves on stage, what we want to transmit and what form we want to give it, what we want to provoke and what ways we find to do it. All this reflection will help us to focus our artistic search and to understand more what we want to say and how.


  • Investigate together with artists from different disciplines with the intention of leaving our creative circles of comfort to reinvent ourselves and find proposals different from the usual ones.
  • Work on the basic tools of interpreters to face the scene. (Consciousness, listening, presence, etc…).
  • Learn to use our artistic technique not only to impress or entertain but as part of the stage language with which the artist expresses, and communicates, both with the audience and with his companions on stage. (Dramaturgy of technique).
  • To find new work clues from the exercises of the course for future creations.


  • Presence, awareness and listening:

This type of work is carried out from exercises to work on the scenic presence, the consciousness of oneself and one’s environment, and one’s own subconscious to understand that we speak not only with words but with an infinite number of other languages that define us and form part of what we transmit to the public.

  • Presence, dramaturgy of technique and research:

This part focuses on how to apply a dramaturgy to our stage technique using it as a language of expression to transmit.

In this course we will explore through exercises that will give us new tools to transform the technique and provide it with meaning, emotion, energies, textures or dynamics of movement for example.



Specialized actor in gesture (mime, clown, comic-gesture theatre, improvisation…) at the theatre school “El Timbal” (Barcelona). Immediately after, he began to work with theatre companies while continuing his training. He discovers the circus in the professional formation of the school “Rogelio Rivel” of Barcelona.

He worked for five years with the improvisation company “Planeta Impro”, and performed in cabarets with clown numbers, mime and body language.

Six months in the mime school (Decroix Technique) and after a two-month trip around Europe with the “Compañía Carambola” doing street theatre he returns to the circus, to specialise in acrobatic balances again in the “Rogelio Rivel” school. When he leaves, he forms with Oscar Vilas and Marta Torrents the company “Triskel”.

With the desire to nourish himself in another way of seeing art in general, he worked as an interpreter in various companies (Circus Klezmer, Transe Express, Cirk Oblique, ect…), and he created together with a friend the company “Fet a mà”, with which two creations “Swap!” and “Cru” are linked, with which they tour internationally.

Since very early in her artistic career, she has been interested in direction, reflection and study, which is why since 2015 she has dedicated herself mainly to dramatic direction and writing, combined with the training of artists; since that year she has directed and/or participated in numerous creations with companies such as Nuua, Imaga, Nacho Flores company, el Lado oscuro de las Flores, cafuné, etc.



• 14 March, 2019

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