DATES: October 29 and 30, 2022 (12 hours)

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SCHEDULE: 11:00 - 19:00h

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TRAINER: Yanita Pérez - Cia Teatro Piedra Libre (Argentina)

 

PRICE: €150

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PLACE: La Bayka Space (Hospitalet de Llobregat)

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TABLE OF CONTENTS OF MODULE 3

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The artist Yanita Pérez has extensive experience in the world of the training and interpretation in puppet theatre. He has researched deeply about the e.gprocedures and stage devices involved in small-format shows and has developed its own workshops. Through this third training module, Yanita will accompany the participants in their research processes around the creation of small-format scenarios and the different elements involved and els will propose exercises to explore during this research and creation process.

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We will look at the following aspects:

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· The prototype and the fourth wall

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- Scenographic elements that can be manipulated.

- Considerations on female theaters.

- Think about the fundamental space: scene - synthesis - image

- Reflections and foundations on the mirror (peephole) or the invitation to view the show.

- Open the fourth wall. Because of the manipulation technique, because of its significance, because of the place.

 

In this first section, we will share specific information about the manipulable elements in the miniature theater.

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- Audiovisual display of examples of appropriate resolutions

- Approach the construction of a stage box (Lambe box or miniature theater) taking into account the mirror - animation - dramaturgy - materiality and portability

- Individual storyboard work on my scenic space, group reflection, collaborative summation of my scenic space and that of my colleagues. 

 

· The dominant form

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- Considerations on the manipulation chosen and the scenographic proposal.

- Scenography picture and image.

- Perspective, plans, distance.

- Trial and error. Real possibilities

 

In this second section, we will build prototypes of our universes, solve with recycled materials the animable possibilities of our spaces. We will analyze scenographic points in each space. We will share relevant material on closures of spaces, distances, perspectives, taking into account resolutions of other theatrical creators.

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· Deconstruct materiality

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- Materials, resistance, treatments, textures.

- Mechanisms on a chosen scene.

- Construction, shape, lightness, size, disassembly and potability.

 

In this last section, we will share various materials that can optimize the final realization of our small universes. And as a closed show with the colleagues, we will share the exploration carried out from the germ that emerged on paper to the resolutions found in our scenic prototype.