We are living in a huge global crisis. Fear, death, isolation, loneliness and restrictions accompany us every day. In the workshop we will explore how to write about these big and complicated topics, without losing the poetry, the madness, the fantasy. We will look for surrealist techniques to confront reality. In the workshop texts, monologues and dialogues will be written, but it is also interesting to present the results with the participants in a semi-montage.

Roland Schimmelpfennig was born in Göttingen (Germany) in 1967. He worked as a patient transporter in a hospital in Göttingen and later as a journalist in Istanbul before studying directing in Munich.

Roland Schimmelpfennig has been an author and director since 1995. Between 2012 and 2017 he lived in Havana. He has written around sixty plays that have been translated into more than forty languages. His best-known works include “El dragón de oro”, “La noceh árabe” and “El gran incendio”. For several years now he has been increasingly interested in theatre for children and young people. His play “El soldadito de plomo y la bailarina de papel” was presented at the 2022 Avignon Festival. His play “El cuento de la sirenita”, which deals with the catastrophe of refugees drowning in the Mediterranean, is currently nominated as one of the fifth best children’s plays of the year in Germany. Roland lives in Sagunto.

Marta Pazos – stage director, playwright, set designer, costume designer and performer – proposes in this masterclass an approach to her working methodology developed over twenty years of career as a stage creator.
Coming from the world of the visual arts, Pazos relates to the living arts in a totally empirical way. During this meeting the director will share some of the tools that have defined her language such as the relationship with music, visual arts, time and the engines that drive her work: intuition and desire.

Marta Pazos is one of the most effervescent creators of the Spanish avant-garde. Artistic director of the company Voadora with which she develops her own language based on plastic arts, music, the mix of disciplines and constant scenic research. Degree in Fine Arts (University of Barcelona), specializing in painting, she completed her training in Italy by graduating from the Scuola Cònia de la Societas Rafaello Sanzio, directed by Claudia Castellucci. Since 2000 she has directed theater and opera for entities such as the National Drama Center, Teatre Real, Teatre Espanyol, Teatre Lliure, Galeg Drama Center or DT. Scène Nationale in France.

This class aims to situate some of the transformations that network culture has entailed for the forms of creation, work and identity construction since the Internet operates as a new framework of fantasy and intersubjective relationship. To this end, I propose the following itinerary: – Situated bodies (creation and network culture); political bodies (being born and doing on the Internet); creators with bodies (precariousness and creative work); representation and creative production in network culture (erosion of spheres); – strategies of political art (the gaze that stings, the gaze that transforms).

Senior Scientist at the Institute of Philosophy of the Higher Council for Scientific Research. She has been a professor of art, gender studies and digital culture at the University of Seville, a tutor professor of social anthropology at the National University of Distance Education and a guest professor in postgraduate courses and seminars on culture, art and technology. She focuses her reflective and research work on the critical study of contemporary culture, feminism, creation and identity politics on the networks.

This meeting aims to reflect on dramaturgy as scenic composition. It proposes an approach to processes that, for creation, start from materials that are not strictly textual. It presents a brief analysis of the composition of the scenic image and the different languages that are activated with it.

Judith Pujol has a degree in Art History (UB) and in Direction and Dramaturgy (IT) and a Master’s degree in Scenic Practice and Visual Culture from the UCM, the Museu Nacional Centro d’Art Reina Sofia and Artea. She combines directing with teaching and cultural management. She was artistic coordinator of the Teatre Español de Madrid during the artistic direction of Carme Portaceli, from the 2016-17 season to the 2019-20 season. She is a co-founder of the Obskené Company since 2010.

How is Butler’s concept of performativity related to stage practice? How are a gender performance workshop and a BDSM session similar? How do a BDSM session and a theatrical performance differ? In which of them do we demand a higher quality consensus? How can bodies resist the white and heteropatriarchal distribution of privilege? Can we present BDSM as a postdramatic practice? And as a practice of social transformation, that is, of resistance to generalized mediocrity and the appropriation, by boredom, of sex and the stage?
Rather than answering, we will dedicate ourselves to living with these questions and exploring the territories where they become more suggestive accompanied by authors such as Judith Butler, Pat(-rick) Califia or Michel Foucault.

Stage creator trained in philosophy, musicology, music, lyrical singing and contemporary dance; he has a Master’s degree in contemporary philosophy from the UGR. Between 2004 and 2007 he worked at the Teatre-Laboratorja Ànima Alter in Sofia, Bulgaria. Founding member of the Vladimir Tzekov company that was born in 2008 in Granada with the production of Rapsodia n.º 2: La vida es sueño. In September 2009 Vladimir Tzekov created his own Stage Action Laboratory with the intention of generating a training space and meeting point between creation and the audience in Granada. Over the last ten years, more than a thousand students have attended his courses producing more than twenty shows.

A través de esta sesión buscaremos entrenar desde la práctica y la reflexión la escucha para entender en qué momento se produce eso tan fácil de decir y tan difícil de llevar a cabo: la conexión íntima con la propia palabra, ese momento mágico de la escritura en qué forma y contenido son uno, y nacen de manera natural dentro de nosotros. Trabajaremos en qué momento dejar de lado el juicio y en qué momento aplicarlo, cómo afinar las escenas y guiar la escritura desde lo intuitivo y no desde el análisis para no caer en bloqueos mentales. ¿Cómo identificar en qué momentos estamos conectados con la propia palabra y qué nivel de intimidad tenemos con ella? ¿Cómo establecer un termómetro interior con respecto a nuestro nivel de conexión? ¿Cómo limpiar la hojarasca del ruido mental? Todo esto significa estudiar la técnica interna, es decir, el ámbito de entrenamiento de la escritura en el que se trabaja la disposición de escucha interior para que el material emerja en lugar de construirlo. Cuando escribimos, trabajamos en intimidad con nosotros mismos, tratando de rehuir nuestras interferencias mentales, siempre al acecho. Trataremos de indagar en torno a la siguiente cuestión: ¿Cómo lograr una palabra conectada que se convierta en un detonador de energía y de imaginario escénico?
Para ello, partiremos de un tema común, el laberinto, representado por un mito como base para la sesión: el mito del minotauro. Trabajando elementos de la mitología colectiva podemos acceder a la conexión con nuestra propia mitología a través de la escritura al generar un paisaje temático y asociativo a partir del cual escribir colectivamente.

Licenciado en Dramaturgia por el Institut del Teatre de Barcelona, complementa su formación en la Universidad de las Artes de Berlín (Udk) y en la Sala Beckett de Barcelona, con José Sanchis Sinisterra, con Abilio Estévez y con Rosa-Victòria Gras. Como autor teatral ha publicado (Ediciones de Teatro del Astillero, Ediciones Primer Acto, ADE Teatro, Edicions de la Diputació de Barcelona) y ha estrenado o está en proceso de estrenar en Barcelona y Madrid, Chile, México, Ecuador, Turquía, Grecia, Alemania, Marruecos, Francia y Colombia (Premio Jorge Eliecer Gaitán) algunas de las obras que ha escrito: Salento, El último secreto de James Dean, Niño fósil, Las malas noches de Amir Shrinyan, Una mala noche, Los niños oscuros de Morelia, Vino lunar, La lenta pesquisa, Sarab, Hostal Sol de Medianoche, El palmeral (parte del proyecto Cicatrices del Nuevo Teatro Fronterizo), Últimas notas de Santiago Rojas. Algunas de sus piezas han sido traducidas al inglés, al francés, al alemán, al griego, al árabe y al turco. Como poeta ha realizado su debut en el marco del Barcelona Festival de Poesía 2018. En 2004 se encuentra con la actriz Alicia González Laá y con la directora Andrea Segura para crear la compañía A3 TEATRE, y estrenan algunas de sus piezas. Desde el año 2005 imparte clases, talleres y tutorías de escritura para teatro y cine, y coordina laboratorios de investigación dramatúrgica colectiva (Festival Grec, Sala Beckett, Teatre Tantarantana, Iberescena, La Maldita Vanidad, SGAE, Umbral de Primavera, C.E.C.C, Bande à part). En 2008 inicia su colaboración con la autora Eva Hibernia, fundando la plataforma de asesoría dramatúrgica y literaria Coaching de Escritores. En 2010 comienza su labor comunitaria con el proyecto intergeneracional entorno a la palabra y el movimiento junto a la coreógrafa Constanza Brnčić y al productor Julio Álvarez, Proyecto PI(E)CE, que lleva diez años de trabajo consecutivo promovido en colaboración con el Teatre Tantarantana. Ha trabajado como adaptador, dramaturgista y dramaturgo de danza. Ha colaborado con directoras y directores como Rodrigo García Olza, Constanza Brnčić, Andrea Segura, Elena Fortuny, Maria Elena Mexia, Carlos Rodríguez, Carme Portaceli, Marta Gil, Cecilia Ligorio, Roberto Romei, Irene Mattioli, Ferran Carvajal o Tommaso Rossi, entre otros. Ha estrenado en teatros como: Teatre Akademia, Teatre Tantarantana, Sala Beckett, Sala Cuarta Pared, Teatre Nacional de Catalunya, Teatro Real, Naves Matadero, Teatre Lliure, Teatre CCCB, y en numerosas ocasiones durante el Festival Grec. Vinculado al Goethe Institut, al Nuevo Teatro Fronterizo y a la Sala Beckett, desde 2010 desarrolla su otra vocación: traducir del alemán talleres de dramaturgia y textos teatrales, especializándose en la colaboración con el autor Roland Schimmelpfennig. En 2012 funda junto al actor y director Rodrigo García Olza la compañía NIGREDO, en constante actividad dramatúrgica, de producción y pedagógica desde su fundación.