This is a dramaturgy workshop, a space for discussion and creation aimed at the production of theatrical texts by the participants, which aims to investigate certain specific aspects of the complex relationship between reality and fiction. It will be divided into two parts.
The workshop will ask about the ways in which reality modifies our fictions but also in what ways our fictions can transform reality. As an introduction, and as a way to promote creative exchange and knowledge between the group and the tutor, in the first meeting the participants will be shown some of the latest works carried out by the Marea Group, a collective of Argentine artists of which Mariano Pensotti is playwright and director.

The workshop will ask about the ways in which reality modifies our fictions but also in what ways our fictions can transform reality. As an introduction, and as a way to promote creative exchange and knowledge between the group and the tutor, in the first meeting the participants will be shown some of the latest works carried out by the Marea Group, a collective of Argentine artists of which Mariano Pensotti is playwright and director.

Theatre is the collective elaboration of a working hypothesis that only occurs when, upon leaving the show, the awareness of not having interpreted the role of audience well enough mixes with the intuition of the many ways to have done it better. In a world where Participation is a fact but is almost never real, theatre assumes the not-so-easy task of deploying a participation that, without necessarily being a fact (or precisely because of not being one), manages to be real. The workshop is therefore conceived as a laboratory of social fictions to deploy different hypotheses of real participation with the attendees.

Roger Bernat’s theatre is the collective laboratory where the utopian aspirations and authoritarian fantasies of a community are inscribed. The spectator ceases to be a privileged witness to enter into the paradoxes of being an actor. Roger Bernat has directed shows that have been presented in theatres, festivals and museums on five continents. His works have been produced by the KunstenFestivalDesArts (Brussels), the Wiener Festwochen (Vienna), Santiago A Mil (Santiago de Chile), the Teatre Lliure (Barcelona), the CDN (Madrid), the Documenta (Kassel) or the Sao Paulo Biennial. In 2019 the Teatres del Canal (Madrid) organised a retrospective of his work.

What can a body do? What must it do? What does it need? What does it want? How much does a body cost? During the workshop we will write and practice some somatic scores for standing bodies, for lying bodies and also for inclined bodies.

She specialized in ecosystems and population dynamics in the Faculty of Biology. She studied new dance and improvisation in the nineties. Since 2000 he has been creating his own work and since 2008, she has built and co-directed the Azala creation and artistic residency space, located in the same town where he lives in the south of Álava, Lasierra. Since 2019 she has also been part of the editorial team of Zirriborroak eta gero / Esborranys del futur, a collection of fables that imagine the future of alternatives or utopias that are based on concrete experiences that exist today.

Writing from desire. Writing from memory. Writing from listening. Noticing the presentiment. Approaching fiction as the possible place for anything. The word as evocation. Sound as architecture What is being, existing: construction of images through the word.

Author, singer, actress and director. She has a degree in Art History (University of Valencia) and a diploma in Dramatic Art (Centre Teatral Escalante). At the same time, she takes writing courses with the author Paco Zarzoso, and intermedia art with the poet and artist Bartolomé Ferrando. Her first works are framed within the art of action, and experimental music, with the sound duo Antorcha Amable. In 2007 she receives the second prize of the International Prize for Dramatic Authors Mª Teresa León (ADE) with her work Aquàtica and begins to focus her activity on writing. She makes collective pieces such as Zero Responsables, Els Nostres or Valèntia; commissions for creators such as Kòktel Molotov with Pep Ricart; two pieces about the neighborhood of Cabanyal with Xavier Puchades; the Invisibles libretto, a large-format musical with composer Luis Serrano Alarcón, and half a dozen short pieces premiered at nearby theater festivals. In 2019 she received the ex aequo prize from the Valencian Critics and the prize for best text in the Valencian Generalitat’s Performing Arts Awards for her play Tórtora, written within the I Insula Dramàtica Josep Lluís Sirera. In 2020 she received the Ciutat de Castelló National Prize for her play Errants. And in 2022, the Íntim SGAE prize for the play Viva. She has been working as an actress in different theater companies for more than 20 years and, occasionally, collaborates as a screenwriter in audiovisual fiction projects.