Every creative act tends to fluctuate between chaos and order. Between uncertainty and certainty, between fog and epiphany. Both bewilderment and error are opportunities that in creative terms allow the author to make explorations that take him out of the territory of comfort. And chaos is followed by structure, the need to give shape to the fictional universe and with the mathematics of drama we allow ourselves, through multiple rewritings, to find the story we want to tell and, simultaneously, get closer to the spectator who is eager for experiences and emotional and rational journeys that remind him that he is alive.

Although I studied Anthropology, for 20 years I have dedicated myself body and soul to writing theatrical texts and librettos for television series and soap operas. I also work as an editor and analyst of film scripts, accompanying authors in their creative processes. I teach classes and workshops on dramaturgy and audiovisual writing in several institutions, including the Master’s Degree in Creative Writing at the National University of Colombia. I trained as a playwright, fortunately, with teachers of the stature of José Sanchis Sinisterra, Fabio Rubiano, Maurici Kartun, Víctor Viviescas, Rafael Spregelburd, among many others, who taught me not only to write, but also to approach the profession with passion and almost neurosis. Academic training: Anthropologist (University of the Andes), Master’s Degree in Screenwriting for Cinema and Television (University of Barcelona). Specialist in Screenwriting (Binger FilmLab, Amsterdam). Some recognitions: Lope de Vega Award. Ibero-American Theatre Award Vila de Madrid, 1998. Iberescena Fund Grant 2012-2013, Aid for Dramaturgical Creation Processes in Residence. Mexico-Colombia Artistic Residencies Grant 2003 (Ministry of Culture – FONCA).

Dramaturgy and objects workshop taught by Jaume Policarpo around the following contents: understanding the stage as an area of absolute animation; reconsideration of the performer’s body as an entity subject to permanent manipulation; recognition of the differential substance of the performer-puppeteer; games and discoveries around splitting, projection, multiplicity and dissociation; abstract expression of forms and materials in movement; dioramas, traces of memory, recovered objects, composition and meaning; visual poems aloud.

Playwright, puppeteer, set designer and stage director, he began in the theatre with the creation of the Bambalina Titelles company in 1981. Since then, after more than forty years of professional dedication to the stage, he has developed a unique profile as a creator, defined especially by his understanding of the stage in relation to the universe of the theatre of objects, the multiplicity of the performer and the sensitive impulse of the spectator. His creations are diverse; on the one hand, the fruit of the requirements of his company and on the other the result of more personal antics and experiences.

We will work with the body and the voice, using tools that help us focus our attention and listening when working, composing and improvising within the framework of the group.

I was born in Granada, although I have lived and worked in Madrid for 30 years. I initially trained in classical dance, and then in contemporary dance with different choreographers (Ana Buitrago, Olga Mesa, Monica Valenciano, etc.).
My professional career has gone from performance (as a member of the Cia. “El Bailadero-Mónica Valenciano” for 10 years) to independent creation since 2005. In this phase I have created solo pieces (Matrioshka, Kratimosha, En Construcció 1, En Construcció 2, El resistent i delicat fil musical, Expografía, Monstres Musicals and Neti Neti) and in collaboration (Shichimi Togarashi y entre la tú y yo, with Juan Domínguez, perrita china with Nil Gallego etc.). I have also participated in processes of other artists (Cuqui Jerez, Odd Enginears, Sonia Gómez, Oscar Bueno etc.) as a performer, coach, choreographer, occasional collaborator…

This is a practical-theoretical course focused on the potential of the image as a support for the resources necessary for the author to deploy an original dramaturgy, understanding by this that which is linked to the original and characteristic of his way of capturing and expressing the world.
In the course we value and relate the technique of dramatic writing with the inner technique of a writer, which generates a more conscious, versatile and lively state of the creative process. Throughout the day we will understand what a matrix image is, we will learn to welcome it, incubate it, read it in different relational senses, dive into its symbolic elements, deploy its imaginary potential, dynamize it through some games, derive dramaturgical decisions of structure, plot, character creation, etc., capture the implicit tensions and translate them dramaturgically to the nervous system of the work.
This course points to a working method; I trust that it leaves a seed that will continue its journey in the careers of those who participate.

Eva Hibernia studied at the RESAD in Madrid. She completed her PhD courses in Humanities at the Pompeu Fabra University in Barcelona. Some of her works and stagings have earned awards, scholarships and mentions. She was the resident author of the Teatre Nacional de Catalunya during the 2006 to 2009 seasons, within the T6 contemporary authorship program. In addition to this theater, her works have been seen in stages such as the Teatre Espanyol, the Sala Quarta Paret, the Sala Beckett, etc., as well as in national and international festivals. She has been invited to give lectures on her creative processes as a playwright and poet at the Piccolo Teatre in Milan, the Ateneu de Barcelona, the University of La Rioja, the Nou Teatre Fronterer, the SGAE, etc. She co-founded the company Deliri, with which she directed shows of various formats for 10 years, highlighting, among others, Tretze Roses – awarded the III National Director’s Award Torrejón de Ardoz, alongside Júlia Bel-, or Cova Cortázar. Her love of words has led her to cultivate other genres where she also has an extensive body of work, mainly in poetry, adult and children’s fiction.