Like any other activity, artistic creation evolves, reflecting its time and the political-social context.
Theater and performance, as artistic forms of total exposure and delivery, demand from their professionals constant attention to their surroundings, to what other creators do and to how their main instrument, the body, can be used.
Interpreters are in constant need of training and seeking knowledge of what is done, how it is done and why. Since theater is a space for reflection through action, it is essential that the performer is like a gymnast: available, flexible, knowledgeable and courageous.
Specialized training therefore has a fundamental role in the creative process, by providing a revisit to essential methods and tools, which provide the interpreter with the skills and confidence necessary to participate in the creative processes.


This specialized training is aimed at professional interpreters, in four aspects: voice , body , interpretation and performance .

It will be carried out in partnership with the Institute for Training, Research and Theater Creation (IFICT), founded by Adolfo Gutkin.

Focused on time, it takes on the character of an intensive three-week workshop.

All the trainers are recognized professionals in the area: Adolfo Gutkin and Paula Freitas (Interpretation); Catarina Câmara (Body); Luís Moreira (Voice) and Mariana Tengner Barros (Performance).



07 to 14 May 2022 |

10:00 am - 1:00 pm and 2:30 pm - 5:30 pm



IFICT - Institute for Training, Research and Theater Creation 

Rua da Bica do Sapato 48A B, 1100-094 Lisbon

Price  75 euros

Subscriptions |  producao@cepatorta.org  

Registration until 30th of April | limited spots


Information |  producao@cepatorta.org   



Dançarinos Modernos

7th to 14th of May 2022

It is intended to create a space for sharing and experimentation from the body work and improvisation methodologies of Companhia Olga Roriz.

“What makes me move?” it is the question that prefigures the territory of dance-theater and that values the recognition of the sensorial and affective map of the performer's body with a view to the construction of an authentic and singular discourse. We will use anamnesis games, invoking personal reminiscences, incomplete memories, recovering and re-inventing the white space of memory in the search for a singular and collective imaginary, non-transferable and shared.

“How do I move?” privileges the phenomenological approach through observation in movement and active description of the experience: perception and states of presence, recognition of impulses, limits and fantasies, listening and articulation of rhythm, intensity and form.

We will facilitate the incubation and manifestation of physical and emotional states, transition between chaos and order, summoning functional bodies and disruptive bodies.

“What do I move for?” promotes the contextualization and intentionality of improvisation, clarifying and challenging the communication process between artist and spectator. Here we will move the feeling and meaning of movement: processes of re-signification of the natural and everyday gesture, the resonance of the symbolic and the value of the absurd in the discourse of the body.

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Orador motivacional

Dates to be announced

The voice is one of the main vehicles of communication - the voice obeys the same logic as any other muscle in our body and can be worked and improved. In the same way that we work with other communication tools, we must consider verbal communication as a fundamental vehicle of presentation. It is intended to improve verbal communication, the basis of the needs of a professional actor and the improvement of the communication mechanisms of a professional actor - breathing, placement, projection and diction.

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Grupo de teatro

Dates to be announced

Work the actor's interpretation through interrelated vectors: imagination, attention and memory; physical actions and relationship with thought; objective and expressiveness; impulse and communication; the body spaces, the word, the text and the character.

Regarding the action on stage, essential issues will be revisited: body and mental training; body concentration; breathing and relaxation; living and mortal presence; spirituality and transcendence; the expressive unit.

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aula de dança

Held October 2021

We will create a laboratory for creative experimentation, which investigates the possibilities of dance, movement and performance as a political practice of activation of the body. Modes of attention and states of consciousness that allow the reconfiguration of the filters we use to understand “reality” will be investigated. Through the research of movement based on perception and sensation, body-mind connection and expansion of the senses, another articulated body will be prepared, which expresses the non-linear and complex language arising from the emotional, sensorial and imaginative topic, allowing form appears through sensation and attention. The practice of freedom, without the various “programs” to which we are subject as human beings, by deconstructing and reconstructing the multiple images we have of ourselves, and of the world, while dancing. The notion of dance will be constantly challenged through the reconfiguration of patterns of behavior and identity. It will cover the game, the serious play, which is playing, because playing is essential for the lucid perception of reality, disconnected from self-censorship and in tune with curiosity.



Curatorship - Companhia Cepa Torta 

Production Director - Miguel Maia 

Production Assistance - Paula Fernandes  

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