By María Morales
In a scared place called the theatre, we tare down the walls of shame, the impression that we have nothing to say or the notion that what we have to say is not important, becoming protagonists of our own story every time we step on a stage.
This course is based upon the investigation of expression and the reciprocal investigation: sharing with children what we have learned from our art and learn from children what the have to teach us.
We know that this practice is a curative one.
In the same way we drink orange juice to prevent a cold, the practice of the theatre cures apathy, social anesthesia, it gives you courage and it helps you learn about the human being…
Let’s drink this juice!
We know that this practice is a curative one.
In the same way we drink orange juice to prevent a cold, the practice of the theatre cures apathy, social anesthesia, it gives you courage and it helps you learn about the human being…
Let’s drink this juice!
Here we want to take these ideas even further because what better protagonist than those who in a very short while will be the ones who’s behavior will decide how society will live, will work, will have fun and how it will communicate.
Therefore we believe to be important to give them a voice, empower their confidence, give them an open space for their imagination, a place where all is possible, including those things that seemed impossible… We want to offer them a place where they can search for the truth, not absolutes which don’t exist, but their own individual truth
Therefore we believe to be important to give them a voice, empower their confidence, give them an open space for their imagination, a place where all is possible, including those things that seemed impossible… We want to offer them a place where they can search for the truth, not absolutes which don’t exist, but their own individual truth
On Sundays from October to Jun, we will meet for about two hours with the purpose of playing. And I say playing.
To play, in other languages such as English, it is used to express the act of interpreting or acting. It is not different in this case.
There will be many games, collective or individual, confidence games, corporal consciousness games, games to incentive creativity and inhibition, but always in action.
This playing dynamic will be what we will use in our final performance. A performance that will be born out of the process of working with the kids. We recognize the need of coming in contact with an audience, since we consider that the theatrical act can never be severed from the public meeting, that is it’s purpose.
To play, in other languages such as English, it is used to express the act of interpreting or acting. It is not different in this case.
There will be many games, collective or individual, confidence games, corporal consciousness games, games to incentive creativity and inhibition, but always in action.
This playing dynamic will be what we will use in our final performance. A performance that will be born out of the process of working with the kids. We recognize the need of coming in contact with an audience, since we consider that the theatrical act can never be severed from the public meeting, that is it’s purpose.
But the priority is not to create something on a professional level.
The performance will reveal itself from our meetings, out of the games, the will, the creativity and the team that we will assemble. It will be that which we want to share with the world, that which we have lived coming together. We are interested in them being beautiful as well as them having fun, but at the same time we want them to experience what it is like to create a show, we want them to participate in the building of their own set design and costumes, music and even lighting if it is necessary.
We want this experience to be rich for them, from beginning to end. The show in itself will be exciting and we feel that no other pressures should intervene in the process. The show will be a celebration and not an audition, not an exam.
The performance will reveal itself from our meetings, out of the games, the will, the creativity and the team that we will assemble. It will be that which we want to share with the world, that which we have lived coming together. We are interested in them being beautiful as well as them having fun, but at the same time we want them to experience what it is like to create a show, we want them to participate in the building of their own set design and costumes, music and even lighting if it is necessary.
We want this experience to be rich for them, from beginning to end. The show in itself will be exciting and we feel that no other pressures should intervene in the process. The show will be a celebration and not an audition, not an exam.
It all started in Córdoba when I was a very little girl.
I remember being part of a theatre group in kindergarden, so as you can see things where quite clear from the beginning. I continued studying, acting and every once in a while I worked in workshops with little kids.
In Madrid I continued studying y learning a lot about my craft in a nd out of the stage, and once more, or so it seemed, once again and without asking for it, I was offered to work with kids.
Teaching is something that I really feel a passion for, it is a place where I learn what I already know and that which I still have to learn, it's a place of growth and joy. Discovering a person from the point of view of it's values is the most interesting, moving and touching of experiences.
That is the reason I continue doing it, and I consider it an esential part of my continuous development as an actress.
I remember being part of a theatre group in kindergarden, so as you can see things where quite clear from the beginning. I continued studying, acting and every once in a while I worked in workshops with little kids.
In Madrid I continued studying y learning a lot about my craft in a nd out of the stage, and once more, or so it seemed, once again and without asking for it, I was offered to work with kids.
Teaching is something that I really feel a passion for, it is a place where I learn what I already know and that which I still have to learn, it's a place of growth and joy. Discovering a person from the point of view of it's values is the most interesting, moving and touching of experiences.
That is the reason I continue doing it, and I consider it an esential part of my continuous development as an actress.
TEATRO
2010/actualmente – “Los últimos días de Judas Iscariote”. Dir. Adán Black
2011 – “Falstaff”. Dir. Andrés Lima. CDN.
2008/2010 – “Urtaín”. Cía Animalario. Dir. Andrés Lima.
2007 – “Huevos rotos”. Cía Stampidateatro.
2006 – “A París me voy”. Opera, zarzuela, teatro. Dir. Andrés Navarro.
2006 – “Manzana Golden”. Musical. Cía. Stampidateatro.
2005/2006 – “Las poliposeídas”. Poesía, teatro y música.
2004/2006 – “Coro Entredos”. Contralto.
2004 – “¡Que ruina de familia!”. Dir. Paco Piñero. Comedia del Arte.
2004 – “Cabaret Valentín”. Mujer orquesta.
2003 – “La suerte de los Heredia”. Cantante.
2002 – “Pam-pidam”. Actriz percusionista. Cía. Mayumana.
2001 – “Teatro a la carta”. Improvisación musical y teatral.
2001 – “Lo que es la vida”. Improvisadora. RNE-R1. Programa Nieves Herrero.
2000 – “Engranajes”. Dir. Paco Vidal
TELEVISIÓN
2011 – “2055”. Tele 5. Boca boca.
2011 – “ Hoy quiero confesar”. Pers. Carla del Río. Ficciona Media.
2010 – Estudio1 “Urtain”. TVE.
2010 – “Entre todas las mujeres”. Dir. Mariano Barroso
2010 – “Pelotas”. El Terrat. TVE1.
2009 – “Gran Reserva”. Bambú producciones.
2008 – “Días sin Luz”. Dir. Antonio Hernández
2008 – “Guante Blanco” Bambú Producciones
2008 – “El Síndrome de Ulíses” Ficción TV.
2007 – “Planta 25”. Alba Adriática.
2006 – “Yo soy Bea”. Grundy Producciones.
CINE
2008 – “Gordos”. Dir. Daniel Sánchez Arévalo
2007 – “Cobardes”. Dir. Juan Cruz y José Corbacho.
FORMACIÓN
2007 – Formación como actriz con el maestro Fernando Piernas.
2004 – “El actor y el político”. A cargo de Andrés Lima.
2003 – Licenciada en Arte Dramático por la ESAD.
1996/1999 – Laboratorio Teatral William Layton.
OTROS DATOS DE INTERES
Actualmente; Contralto en coro.
Actualmente; Estudia Armonía.
2 años de canto en la ESAD.
3 años de técnica vocal en la ESAD.
Esgrima
Acrobacia
Idiomas: INGLES, ITALIANO.
2010/actualmente – “Los últimos días de Judas Iscariote”. Dir. Adán Black
2011 – “Falstaff”. Dir. Andrés Lima. CDN.
2008/2010 – “Urtaín”. Cía Animalario. Dir. Andrés Lima.
2007 – “Huevos rotos”. Cía Stampidateatro.
2006 – “A París me voy”. Opera, zarzuela, teatro. Dir. Andrés Navarro.
2006 – “Manzana Golden”. Musical. Cía. Stampidateatro.
2005/2006 – “Las poliposeídas”. Poesía, teatro y música.
2004/2006 – “Coro Entredos”. Contralto.
2004 – “¡Que ruina de familia!”. Dir. Paco Piñero. Comedia del Arte.
2004 – “Cabaret Valentín”. Mujer orquesta.
2003 – “La suerte de los Heredia”. Cantante.
2002 – “Pam-pidam”. Actriz percusionista. Cía. Mayumana.
2001 – “Teatro a la carta”. Improvisación musical y teatral.
2001 – “Lo que es la vida”. Improvisadora. RNE-R1. Programa Nieves Herrero.
2000 – “Engranajes”. Dir. Paco Vidal
TELEVISIÓN
2011 – “2055”. Tele 5. Boca boca.
2011 – “ Hoy quiero confesar”. Pers. Carla del Río. Ficciona Media.
2010 – Estudio1 “Urtain”. TVE.
2010 – “Entre todas las mujeres”. Dir. Mariano Barroso
2010 – “Pelotas”. El Terrat. TVE1.
2009 – “Gran Reserva”. Bambú producciones.
2008 – “Días sin Luz”. Dir. Antonio Hernández
2008 – “Guante Blanco” Bambú Producciones
2008 – “El Síndrome de Ulíses” Ficción TV.
2007 – “Planta 25”. Alba Adriática.
2006 – “Yo soy Bea”. Grundy Producciones.
CINE
2008 – “Gordos”. Dir. Daniel Sánchez Arévalo
2007 – “Cobardes”. Dir. Juan Cruz y José Corbacho.
FORMACIÓN
2007 – Formación como actriz con el maestro Fernando Piernas.
2004 – “El actor y el político”. A cargo de Andrés Lima.
2003 – Licenciada en Arte Dramático por la ESAD.
1996/1999 – Laboratorio Teatral William Layton.
OTROS DATOS DE INTERES
Actualmente; Contralto en coro.
Actualmente; Estudia Armonía.
2 años de canto en la ESAD.
3 años de técnica vocal en la ESAD.
Esgrima
Acrobacia
Idiomas: INGLES, ITALIANO.
Rodrigo Ramírez was born, by chance, in Albacete... and it was also by chance that I was happy playing and living like anyother person in that city... until one day, also by chance, the theatre found him under the bed where he would hide when he didn't understand what was going on around him... he would dream of being a thousand invented characters... when he found himself, that afternoon, in the company of the theatre he asked: "¿Where have you been all this time? and the theatre responded: "To be or not to be, that is the question". In that very moment, Rodrigo's face was marked by an astonished, moved and above all confised expression, which to this day, is still with him.
¿What did he mean by that?
Chance took him from here to there, until he met up with his skin and bones in Madrid, where he found new friends to share the stage with. And in the company of several, he travel from here to there, from city to town, telling big and small stories, to the old and not so old, until one day, the theatre asked him another question: "¿When children go to the theatre, do they only look to be entertained?
And he continues from here to there, waiting for chance to meet up with him again and to find with him the answers to the questions he is looking for... in the meantime he plays and he enjoys being Romeo, Seguismund, Hamlet or a farmer... embodying people that he could never be, if it weren't for what he becomes, when one day by chance, the theatre found him.
¿What did he mean by that?
Chance took him from here to there, until he met up with his skin and bones in Madrid, where he found new friends to share the stage with. And in the company of several, he travel from here to there, from city to town, telling big and small stories, to the old and not so old, until one day, the theatre asked him another question: "¿When children go to the theatre, do they only look to be entertained?
And he continues from here to there, waiting for chance to meet up with him again and to find with him the answers to the questions he is looking for... in the meantime he plays and he enjoys being Romeo, Seguismund, Hamlet or a farmer... embodying people that he could never be, if it weren't for what he becomes, when one day by chance, the theatre found him.
FORMACION ACTORAL
00/03 Interpretación, durante tres años, en la academia del actor Replika. Dirigida por Jaroslaw Bielski y Socorro Anadón. Recibiendo formación de: Expresión corporal, voz, acrobacia, interpretación textual y gestual, danzas históricas y verso.
03/11 Cursos monográficos dedicados a la interpretación: Clown, esgrima, danza, acrobacia, interpretación ante la cámara, cabaret …
10/11 Actualmente, entrenamiento del actor en Theatre for the People con Adán Black.
EXPERIENCIA TEATRAL CON NIÑOS
De 1996 a 2000 ( de junio a septiembre) Animación en la empresa Hoteles Mediterráneo. Hacer juegos con los niños, espectáculos dedicados a ellos y ensayar con ellos micro espectáculos para interpretar delante de un público.
De 2005 a 2008 "Alicia", versión infantil de "Alicia en el país de las Maravillas" con escenografía y vestuario de Agatha Ruiz de la Prada. Compañía Replica.
De 2007 a 2010 "El Romeo y la Julieta", con la Compañía "La Tirita de Teatro" en la que empiezo a aprender el manejo de títeres.
De 2009 a 2010 "Blue, si soy azul", con la compañía "La tirita de teatro".
De 2010- actualmente en gira, "Cucharacas", con las compañías de "La Tirita de Teatro" y "Los Postizo Mostacho"
00/03 Interpretación, durante tres años, en la academia del actor Replika. Dirigida por Jaroslaw Bielski y Socorro Anadón. Recibiendo formación de: Expresión corporal, voz, acrobacia, interpretación textual y gestual, danzas históricas y verso.
03/11 Cursos monográficos dedicados a la interpretación: Clown, esgrima, danza, acrobacia, interpretación ante la cámara, cabaret …
10/11 Actualmente, entrenamiento del actor en Theatre for the People con Adán Black.
EXPERIENCIA TEATRAL CON NIÑOS
De 1996 a 2000 ( de junio a septiembre) Animación en la empresa Hoteles Mediterráneo. Hacer juegos con los niños, espectáculos dedicados a ellos y ensayar con ellos micro espectáculos para interpretar delante de un público.
De 2005 a 2008 "Alicia", versión infantil de "Alicia en el país de las Maravillas" con escenografía y vestuario de Agatha Ruiz de la Prada. Compañía Replica.
De 2007 a 2010 "El Romeo y la Julieta", con la Compañía "La Tirita de Teatro" en la que empiezo a aprender el manejo de títeres.
De 2009 a 2010 "Blue, si soy azul", con la compañía "La tirita de teatro".
De 2010- actualmente en gira, "Cucharacas", con las compañías de "La Tirita de Teatro" y "Los Postizo Mostacho"
Ages
From 7 to 12 years old
Duration of each class
2 hrs.
Day
Sunday
Class Schedule
11:30 to 13:30
Maximum capacity
15 students
Contact
maria.morales
@theatreforthepeople.com
m.669 973 864
@theatreforthepeople.com
m.669 973 864
Schedule
October: 6, 13, 20 y 27
November:3, 10, 18, y 25
December: 2, 9 y 16
January: 13, 20 y 27
February: 3, 10, 17 y 24
November:3, 10, 18, y 25
December: 2, 9 y 16
January: 13, 20 y 27
February: 3, 10, 17 y 24
Course fee
60€ per month
Annual enrollment
Reservation 15€
Test Class
Only 15€
To apply for admission to school, they must complete the admission form.
interview with Maria Morales.
interview with Maria Morales.
