The Teacher is a work that started from the exploration and interaction between movement, body, and a chair. While researching, I began playing with falling down movement, and the loss of muscle strength. This last exercise was explored by applying material and elements from Lecoq´s technique with the aim of bringing my body to a closer reality of how the body behaves in a structure without muscles or bones.

      While training, the idea of a "teacher" as a character came up. As I was exploring and rehearsing, other elements emerged as a part of the storytelling, such as acrobatics movements, slapstick, object animation, and body puppetry.

      This work was shown to an audience of 20 who reacted incredibly well. As a consequence of such a positive reaction, the next step is to further explore the figure of the teacher as a clown and the relationship between teacher and student in a classroom, devising a 45-minute family show that allows defining oneself through interaction between the public, story, and character.

      The story is full of nuances, some subtle and direct details that explore and question both the figure of the teacher and the educational system as well as the relationship between education and society, the current relationship between the classroom (as space), teacher, and student through direct dialogue with the audience and a traditional tale

      A show is suitable for street theatre festivals, refugee camps, Key Stages 1, 2, 3, and 4 students, and family theatre.

"Dehumanisation" is a physical solo performance that tells the physical, psychological, individual, and social consequences of the act of dehumanising and being dehumanised. It is a journey of researching and reflecting on what we call humanisation and dehumanisation:

What is the line that makes someone go from being human to dehumanise? What is the social spectrum of who are dehumanised and the ones who dehumanise? Can we dehumanise and be dehumanised at the same time? Dehumanise someone is the consequence of having been dehumanised? And if so, how much blame should society and politicians take, if people are not protected from being dehumanised and consequently, to dehumanise to others?

How this circle can be cut? How can we get to the root of the problem to minimise the fact of being dehumanised and to dehumanise? That is why the solo performance goes also through the reflection on the origin and the consequences of judging, lacking acceptance, empathy, and compassion; going through the spectrum of disadvantaged classes; and the understanding of how much an ideology, culture, education, economic and mental health works as a level to increase or decrease the tendency of dehumanising someone or being dehumanised.

After having worked at the young offender’s prison HMP/YOI Cookham Wood in Rochester, I felt how much architecture regulates human behaviour, movement, and use of the voice. Prisons hold unique realities: code, law, size, shape, time, smell, light, race... Many prisoners come from dysfunctional families, mental health disorders, different cultures such as travelers, refugees, low educational level,s and nearly an endless list of possible disadvantages that reflect that before dehumanising people, they were already dehumanised.

That is why the piece works and moves from the interconnection between dehumanisation, mental health, behaviour and architecture, and the use of movement as a key to the character creation and the development of the story.

The solo performance shows a process of strong character composition through multirole and physical work. The solo is under the influences of the internalisation of Taiko drums rhythms, mask work for exploring animal work, the embodiment of puppetry by playing with body parts as puppets besides playfulness architecture of atmospheres, rhythm, and change of emotions.

The piece resorts to Miguel Angel Asturias "Mr President" and to real stories such as the one from Olga Hepnarova who declared:

“I am a loner. A destroyed being. A being destroyed by others, I am the victim of your bestiality”

This is a Piece of Physical and Textual Theatre that belongs to a project differentiate into two parts: the first one, a workshop thought for young people who undergo low self- esteem and mental health disorders involving the use of drama, architecture and movement; and the second part, a performance “Asphyxia” which reflects the physical and emotional consequences of undergoing mental health disorders and low self esteem. The interconnection between workshop and stage work represents the idea of ​​a mirror: Workshop as a way to allow individuals to express themselves ending with a final work sample of their choice, and at the end, watching a show that talks about what they have been working on the workshop. The performance is also absolutely accessible for all audiences interested in mental health disorders and physical theatre. Performance is in working progress.

The performance embodies and materialises both the physical and emotional pain and joy that human beings go through. It shows the mathematical equation of the different levels of privilege (neurological, physical, social, economical, geographical, cultural, political, gender, race, religious...) and how adding or taking them away will affect to mental health. Nobody should be blamed or disrespected from having a different starting position; on the contrary everyone should have the same rights and be compassionate and empathetic towards each other. Therefore, the performance shows that having mental health disorders is not a choice but a consequence of how life is, and how the different areas of our life are affected, and therefore how our emotional intellect (emotions and behaviour) manage them. It is also a message about feelings and how human being manages them.

The performance is a multidisciplinary work that combines live music, movement, text, media, architecture and installations. It brings a strong storytelling through puppetry, mask work, sensorial work that materialises touch and senses through sound installation, visual work using abstract art, authentic art and video installation. The narrative of the story tells different areas and realities from different backgrounds about mental health disorders.

The performance is also a game that plays with the unconscious exploring mind stimulations through architecture, senses, archetypes, movement, and music with a sensorial language.

Different experiences of how languages work will also be part of the performance such as silence, word, poetry, sound, multilingualism and literature taking works from Spanish language literature as poems from Maria Castrejón or poems from English language literature such as T.S Eliot or real stories.

The aim is to make audience experience it in order to give them the chance to be in the other´s skin: thoughts, and feelings and backgrounds because when you experience the other´s body and mind, you are more able to increase empathy about the other´s physical and emotional experiences. Therefore, you will increase understanding positioning anybody in a greater understanding of what mental health is bringing respect towards the other´s behaviour, emotions and feelings and avoiding rejection, judgments, misconceptions towards people´s feelings to finally avoiding further isolation.

Having this attitude will increase a positive behaviour that will help to reduce the silence to talk about feelings. This will bring the feeling of being valued, understood, and accepted decreasing the percentage of further physical and/ or emotional aggression which will boost a positive action to recover.

The ultimate goal is to have the opportunity to change social behaviour by bringing understanding of the consequences of mental health disorders, to create a positive political interaction between different political ideologies to work towards the same pathway: the increase of economical support and facilitate the integration of dysfunctional societies.