Social intervention workshops- work schedule

Monday 12th:

Meeting of the team and presentation of Jonas Froberg and Victoria Alarik (Teater Spyra) and Patricia Aguilera (TNT). Exchange of information on the different stages of the trainers.

Thursday 15th:

  • Introductory chat about the method to create the workshops.
  • Warm up with Patón Chi.
  • Victoria Alarik  proposes work based on physical movement starting from a specific part of the body with a minimum intensity until, through the movement of this part and amplifying its orbit, the whole body is in motion.

The intensity of the gaze is also worked upon from the point of desfocalisation and the perception of this perspective to the intimate gaze of a companion. Breathing tempo and the synchronisation of movements without touching eachother while working as a team are sought as though there was a unified breath.

  • Creative Space: a space in time to create a set with the tools which have been worked on. Movements of free expression and creation.
  • Sharing of the work, perceptions and ideas:

Create a demonstration of the concept of the contemporary circus as a model.

That the story tells us of the journey of a child in his desire to overcome the obstacles which life places in his way. (Reemerge from the crisis from creativity and our inner child who has hardly any limitations).

Search for fantasy characters which can be created from the elements and materials which they can manage (stilts, juggling, monocycle , etc….)

 Monday 19th: 

  • Patón Chi Warm up.
  • Biomechanics. The base of biomechanics is body awareness, It is particularly based on :
  1. Body weight.The gaze as a directional focus.
  2. Displacement in space  through the hips.
  3. Different speeds of movements and the respective control of physical weight.
  4. Breathing awareness.
  5. Association of images with movements to create the sensation of truth of the action.


Biomechanical walks at three speeds: fast, normal and slow. And also in different positions: toes and heels.

Movements of the rowboat: with different displacements of weight.

Gaze and race. Marking the direction and speed with movements.

Work on the articulations of the foot controlling weight and balance.

  • Creative space: Image and arms are incorporated into the creative action, in search of a score of 5 movements to tell a brief story through actions.
  • Brainstorm.

The work turned out to be particularly enriching for the participants and required the amplification of the time allocated in order to satisfactorily complete the workshop.

Thursday 22nd:

Warm up through music using dance.

With the base of the exercises practised during the warm up, a small choreography of modern dance with 13 movements was  done, ending with a race in the area.

Rehearsal with the Biomechanics acquired in the previous session.


Improvisation marked with some guidelines for the development of the same.

Guidelines to follow:

I.            Always 4 people on the stage in such a way that if anyone steps out the rest have the group have to be alert so that someone else can quickly step in (so that there are always four).
II.          While maintaining this step, music was added and the interrelation between the participants, developing the gaze and being involved with each companion.
III.        As another option work could also be done on the choreography marked out by the same.

Shared experience of work:

In general the group prefered to work with rhythms and music of free creation rather than enter into specific techniques and tasks.

Monday 26th:

  • Patón Chi Warm up.
  • Theoretical explanation of continent and content.
  • Various everyday actions with the same movement, quality, rhythm and strength to express different intentions through the same movement.
  • After the recognition process between movement and energy, we move on to investigating the connection and empathy with a companion on stage
  •  Karate exercises
  • Exercises of energetic intuition with animated and inanimate objects.
  • We work on the text of empathy with a companion through energy without movement.
  • Stage presence centre of gravity on stage, my weight and my relationship within the space.


Creation of actions of verbs implicit in memories, through physical scores including present awareness of the movement and energy which we use.

Exhibition of the work feeling the stage presence and the spacial position.

Incorporation of empathy when companions are included on the stage.

The attitude of energetic accompaniment for companions to give them strength and energy.

Conclusions of the exhibition of work.

Monday 2nd:

Exhibition of all of the work carried out to date with the different teachers.

Patón Chi Warm up.

We begin by walking in different directions and marking the same with the gaze, changing weight and speed. Working through all of the exercises of the biomechanics which we worked on previously.

Creation of physical actions based on a part of the body in small movements until the whole body is in motion.

Shoal of fish.

Stage presence and connection with a companion through the gaze until almost touching, but not quite (empathic connection). Thereby creating a choreography with movements of touching and avoiding which becomes a dance.

Finally they let go and with the memory text each one creates their energetic score.

 Final conclusions in group and chat about how they have felt and worked.

Thursday  12th:

Two hours of work on the physical postures of the Comedy of Art. Workshop of Claudio Trina.

The masks treated were:

  • Zanni,
  • Zagna,
  • Male In love,
  • Female In love,
  • The Captain,
  • The Lady,
  • Trousers,
  • the Doctor,
  • Pedrolino
  • and Zanni the First.

Work on comedy techniques which are used in Comedy in acts of physical aggression.

Work geared towards confrontation with the barriers of physical resistance and attention to the theatrical elements of space and relationship with our companions.

In the following two hours a proposal is made to work with all of the acquired tools, making improvisation with the characters on free themes in the varied space.

Improvisations have come up on free entry in which entered when they felt like it to improvise with the companion who was on stage at that moment.

The work was concluded with Feedback.

Monday 16th:

Work with Jonas Froberg on free writing taking Freud’s technique called “Free Associations”  as a reference.

During the first two hours free writing on topics such as dreams, on the truth of others who don’t wish to runaway the crisis, wars and economic interest.


Automatic writing.

Writing through words or short phrases.

Writing as a means of emotional expression.

Continuous writing for a quarter of an hour.

  • Succesively Jonas proposed almost an hour to be alone and develop other texts which emerge with this technique.
  • Once the group came together again, each one read something of what they had written on the stage, reading their text for 2 minutes.

Conclusions of the group and thoughts on the same.

Thursday 19th:

Workshop with Jonas Froberg on clown techniques.

After warm up, we worked on stage entry.


Deep breathing

Always looking at the public

Respond by looking in the direction of each noise that is heard, whether from the public, or sounds which come from outside of the stage.

  •  Work with a red nose, adding other rules such as:
  1.  each time the public laughs, respond by saying “Thank you”.
  2. Arrive at the centre of the stage and say your name, whether real or made up.
  3. Choose from singing, dancing or reciting or any other things which occur to the clown.

We concluded the days work with Feedback.

Monday 23rd:

A proposal is made to the group to set up some guidelines for times and that they propose the organisation of the work under supervision of the trainers. We will act as a back up or assist, but they have to coordinate themselves within the various acquired disciplines.

Complementary workshops:

Different actors from Atalaya and TNT will collabroate during the process providing the group with their own techniques.

  •  Raúl Vera- Technique of physical actor.

Flexibility, balance, acrobatics, physical listening.

  •  Silvia García- Butoh technique.

Creation of the physcial store from daily movements, spatial awareness, physical listening, improvisation. Perception of the theatre as a social tool, and of interpersonal communication.

  •  Mª del Carmen Gallardo- Physical perception and Clown.

Assimilation of physical asymmetry, assimilation of corporal awareness, the physical clown, the clown and the word.

  •  Manuel Asencio- Vocal technique.

Localisation and projection of one’s own voice, individual vocalisation techniques, group awareness, the choral voice.