Phyilosophy

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Composición del  personaje fisico

Finding the character by playing, observing, exploring and imaging through movement as it is an extension of ourselves and a medium for devising an embodying a physicality and a character’s voice and consequently their feeling and behaviour. Poetry, symbolism, voice, comedy, shadows, and tricksters will be part of the path for the creation which in turn will be inspired by our unconscious and the real world, the inside and the outside. 
 

Physical Acting: Character composition

Why are we scared of performing verse? We have many preconceived notions about saying the verse. However, it is rhythm and voice and everything is born from our guts. The body has embodied its score, we just need to be free to use it. Verse and words as a reflection of movement or vice-versa as both are engaged.

Verse in movement

Drama enables children to have a voice and recognise themselves. It also offers a safe space to explore their identity and help to reflect on their behaviour. All applied to the youth in cases of challenging behaviours, marginal communities, traumas, young offenders. Drama also to be used for children with health issues by visiting them to hospitals as a clown, as a playmate and storyteller.  

Drama for Special needs and Education

For ten years, I have been working as a Drama Teacher in Spain and England. I have taught in secondary and primary school, facilitating drama for youth theatre companies, coaching actors for theatre companies and running workshops for character creation, movement for actors and verse in movement.

 

Right now, I am working as a drama teacher in Newbury Park and Central Park primary school in London, as a movement director´s assistant for the youth theatre at the Gulbenkian in connection with the National Theatre, as a drama facilitator for Kent Youth Theatre and also running workshops on physical acting for Method Acting in London.

 

My line of work seeks to inspire itself from the deepest passion found between the lines of the Classics and turn it into a sight that feeds itself from Greek theatre in its higher ancestral, mythological, tragic and comical meaning where its connection with the voice, chorus and mask trigger the connection to our roots, to our essence. Admired and Influenced by Commedia dell' Arte which infected the European Classical Theatre and served as starting point for the emerging modern "acrobat actor", a mixture between the clown, slapstick, grotesque and absurd. This triggered my hunger for understanding the comedy world through its physicality heading towards the foundations of Lecoq. Being moved by Grotowsky and amazed by the Odin Theatre work and the symbolism of Gardzienice. My work finally is shaped by the movement as energy conductor and from the holistic approach of Michael Chekhov where movement is an inner energy and Imagination is the key.

 

Everything led me to keep training, exploring and teaching to acquire a deep understanding of movement as a tool for character creation and composition, for a more sincere acting work searching in the comedy the  human liberation so therefore applying movement and comedy as the main tool to promote the youth´s wellbeing, resilience, and positive behavior.

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