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The clown is an exciting theatrical experience with which we revive the pleasure of playing, the enjoyment of nonsense and the ability to express ourselves spontaneously, free of taboos and prejudices.

The clown makes us laugh with his glance at the world and his attempts to perch on his failures. The clown composes from his own fears, dreams and obsessions in a naïve, crazy and unexpected way.

Discovering and leaving our clown appear is a delight that allows us to enjoy the pleasure of playing, convert it in stage power and share it with the audience.


Construction methodology

Impro is a “living” theater based on personal and group creative invention.

Starting from the improvisation technique, a training in developed. This provides dynamics of assessment of events, thus opening boundless construction possibilities.

The main objective is to create stories in which the improviser is revealed as an instrument of the theater production, developing situations based on the “here” and “now”. All the actors create the story as One MIND. Improvisation is about this natural childhood state of game (playful body).

The difference with childhood is that the game seeks to develop the drama, seeks expression.


To explore the architecture and mimodynamics of the body within space architecture considering the weight as the beginning of the emotion is the initial learning, and after that we can be able to get to the action through desire, drives and the constant choice and listening.

In this way, the physical interpreter takes consciousness of rhythm, intensity, energy and his relationship with other performers and with the audience.

The dynamics of the spine and its different possibilities, together with the physicality made material, colour, texture, music, natural elements and animals, give infinite interpretative resources for creating characters and scenes.

This work of physical interpreter is based on my own education and on the investigation of Jacques Lecoq’s method and pedagogy.


The neutral mask is a pedagogical mask with symmetric features.

This causes the disappearance of the conflict of the face’s expression and thus the body begins to look for calmness and balance, increasing the presence of the actor in the surrounding space and placing him in a state of readiness. The actor’s true art begins when he rediscovers the calm on stage. Under the neutral mask the actor’s face disappears and the body is perceived intensively. To work with a mask seeks to find the conscious of the body as a vehicle on the stage.

In this way, the actor opens himself to recognize installed resistances and meticulously tunes the instrument, stripping himself of his preconceived ways. The movement is worked from the neutral, the balance, the calm, the just…

All these concepts lead us to the synthesis, precision and harmony of the body on stage.