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Escuela de Payasos
Clowning is a state of liberation from oneself, but it also requires an exhaustive study of the dynamics that provoke laughter.
That is why my teaching proposal is divided into different units that I believe are important for clown training.
Each of them can be taken individually or continuously.
Ridiculous
Comedy workshop
Workload: 8 hours. 2 days of 4 hours.
Maximum capacity: 20 people.
“Ridiculous” is an intensive comedy seminar for artists and students of circus, theater, and clowning who seek to incorporate or perfect comedy skills.
The clown technique will be worked on as a style rather than based on a single character.
During the workshop, comedy will be approached from a unique perspective, incorporating technical notions so that each participant's “hidden” side can be revealed.
Small scenes will be created with objects or elements brought by each participant, generating a space where the sixth sense, that of humor, can be awakened.
I believe that once comedians find their style, they can adapt their material to any stage setting. Sometimes, what makes a scene comical is not the virtuosity of the performer, but rather understanding the context and how to generate contrasts. In this way, perception is transformed and we can move from the tragic to the comical, from solemnity to ridiculousness, or from the heroic to the pathetic.
Tropiezo
Intensive comedy workshop.
Duration: 4 hours. 1 day.
Maximum capacity: 20 people.
Aimed at circus artists, actors, and clowns.
During the workshop, we will explore different physical and mental techniques for creating comical situations. We will delve into three dynamics of comical acting:
Contrasts and contexts
De-structuring
Comic score.
Often, what makes a scene comical is not the virtuosity of the performer, but rather an understanding of the context and how to generate contrasts. In this way, perception is transformed and we can move from the tragic to the comic, from solemnity to ridiculousness, or from the heroic to the pathetic.
Writing with your feet
Circus dramaturgy
Course load: 9 hours. 3 days of 3 hours.
Maximum capacity: 20 people.
The workshop is aimed at circus artists with previous experience, directors, and producers who want to delve into circus writing.
During the sessions, we will look at different tools for approaching an idea, whether from a circus discipline, a character, or a poetic perspective.
As an exercise, we will shape a possible sketch, seeking to put circus technique at the service of “being on stage.”
As dramaturgs, we seek to awaken the creative artist by encouraging their individuality and style.
We will recognize the different elements of a scene. In turn, we will identify the rhythmic elements that compose it. You will be invited to imagine and detect the climaxes and turning points within a piece. We will use examples from material presented by the participants and/or audiovisual material. This observation exercise will help us reveal what type of writing is being used. We will bring some words that belong to the circus tradition to review and rewrite them from a current and contemporary perspective.
Principles for creation
Creation of circus scenes
Hours: 12 hours. 3 days of 4 hours.
Maximum capacity: 20 people.
This is a space for creating and perfecting circus and comedy acts. During the seminar, we will identify the backbone of each act and amplify the natural resources of each performer. We will emphasize rhythm, emotion, and plot structure. Aimed at circus artists, clowns, stand-up comedians, dancers, and experienced actors.
Aimed at actors, circus artists, and dancers who want to delve deeper into scene and character creation.
OBJECTIVES:
-Recognize extremes, releasing expression and allowing energy to flow.
-Work on stage presence or character, based on each person's physical and expressive qualities.
-Channel all chaos toward a specific path, a defined stage presence: the relationship with the earth, the gaze, breathing, and body language.
-Create climaxes and turning points through improvisation, working on tension, explosion, and breathing.
-Apply some principles of creation to approach the inner universe and staging of each participant.
-Encourage debate and reflection on findings, weaknesses, and overall composition.
-Develop an artistic eye where the gaze transcends circus technique and thus be able to observe the different nuances of the staging.
Stage experience
Simulated circus and comedy show.
Hours: 24 hours. 6 days of 4 hours.
Maximum capacity: 10 artists with previous experience.
This experience is aimed at circus artists who are interested in receiving feedback on their work.
Through a 6-day process of research and staging, we will carry out a unique and particular staging.
Taking as a starting point the proposals of independent artists, which will be filtered through the gaze of two directors working towards a collective creation.
Working methodology
There will be an open call for emerging artists.
We want to meet people who are willing to reflect on their scenes/acts, who are motivated to meet other people to create and discuss their work and the collective.
We will seek to form a team of excellence, with different circus genres and disciplines, who can adapt and work from the perspective of the directors. Disciplines: acrobatics, contortion, balancing acts of all kinds, juggling, clowning, and any other circus technique not specified above.
Transforming public space
Creation workshop in open spaces
Workload: 8 hours. 2 days of 4 hours.
Maximum capacity: 20 people.
Understanding that the world changes and so do we, this seminar proposes to observe, investigate, and create scenes in public space.
We will look at tools for creation, writing, and performance related to circus and physical comedy. We will work on observing a pre-existing space and how to redefine it through our intervention.
We will create scenes for an audience that now watches from a distance, that perhaps
does not form a circular ring around the artist. We will also work with the camera as an audiovisual resource to reach the audience at home.
But the important thing is to occupy public space, to make it our stage.