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.



4th to 8th October | 10:30 am - 1:30 pm Voice  

               2:30 pm- 6:30 pm Interpretation

11th to 15th October  | 9:30 am to 1:30 pm  Performance 

18th to 22nd October | 9:30 am to 1:30 pm  Body



IFICT - Institute for Training, Research and Theater Creation 

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

Price  75 euros/module

Subscriptions |

(Registration until 09/30 | Limited vacancies


Information |  / 916828818  


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

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



4th to 8th of October | 10:30 am to 1:30 pm

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

Captura de ecrã 2021-09-13, às 17.30.03.png


4th to 8th of October | 2:30 pm to 6:30 pm

Working the actor's interpretation through interrelated vectors: imagination, attention and memory; physical actions and relationship with thought; objective and expressiveness; impulse and communication; the corporeal 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 deadly presence; spirituality and transcendence; the expressive unit.

Captura de ecrã 2021-09-13, às 17.36.58.png

(curated by Adolfo Gutkin )


11th to 15th of October | 9:30 am to 1:30 pm

We will create a laboratory for creative experimentation, which investigates the possibilities of dance, movement and performance as a political practice for activating 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 movement research 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 coming from the emotional, sensory and imaginative topic, allowing the form appears through sensation and attention. The practice of freedom, without the various “programs” that we are subject to as human beings, by deconstructing and reconstructing the multiple images we have of ourselves, and of the world, as we dance. The notion of dance will be constantly challenged through the reconfiguration of behavior and identity patterns. The game will be covered, playing for real, which is playing, because playing is essential for a lucid perception of reality, disconnected from self-censorship and in tune with curiosity.



18th to 22nd of October | 9:30 am to 1:30 pm

The aim is to create a space for sharing and experimenting based on 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 sensory and affective map of the performer's body with a view to building an authentic and unique discourse. We will resort to 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, intransmissible and shared.

"How do I move?" privileges the phenomenological focus 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 sense 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 body's discourse.

Captura de ecrã 2021-09-13, às 17.35.16.png


Curatorship - Companhia Cepa Torta 

Production Management - Miguel Maia 

Production Assistance - Lara Matos  

  • Black Facebook Icon
  • Black Instagram Icon
  • Black Youtube Icon