FUESCyL

FUESCyL

Art

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Partner Institutions

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This Masters course has been designed in collaboration with two key institutions in the field of artistic creation and contemporary artistic reflection:

 

Catholic University of Louvain

Catholic University of Louvain


 

Université Catholique de Louvain, Belgium. Created over four decades ago, the Centre for Theatrical Studies at this university is one of the key European venues for analysis of theatrical events from an interdisciplinary perspective. Its studies of the language from which theatre today is constructed constitute one of the most interesting contributions to the dialogue between critical discourse and contemporary stage practice.

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Art College of the University of Coímbra

Art College of the University of Coímbra


 

Colégio das Artes da Universidade de Coimbra, Portugal. Part of the University of Coimbra, this college facilitates the processes of study and creativity of contemporary artists from various disciplines within the field of university research, thus enabling those creative artists interested in research to be able to do their dissertations and/or doctoral theses by drawing on their own artistic projects.

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Faculty of Arts and Humanities of the University of Coimbra

Faculty of Arts and Humanities of the University of Coimbra


 

Faculdade de Letras da Universidade de Coimbra, FLUC. The Faculty of Arts and Humanities is one of the eight faculties of the University of Coimbra, which is considered to be the oldest of the Portuguese-speaking universities and one of the most ancient universities in Europe. It offers degrees in Archaeology and History, Information Sciences, Archives and Librarianship, Artistic and Classical Studies, Philosophy, Geography and History, Journalism, Art History, European Studies and Modern Languages. Its organisational structure includes various research centres and it offers a wide range of activities such as conferences, masterclasses, congresses and presentations.

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Other collaborating organisations: network of partnerships

 

One of the distinctive aspects of the Masters is its network of partner organisations.  The Escuela Superior de Arte Dramático de Castilla y León (ESADCYL) has organised a wide network of partnerships with some of the most prestigious cultural institutions of Castilla y León and other communities.  Their field of activity is in line with the Masters curriculum design, the nature of the study programme and its objectives, providing the students with an interdisciplinary perspective open to different paradigms or artistic languages.  This network includes festivals of contemporary creative arts, centres for exhibiting performing arts, production areas, cultural foundations, artistic events, multidisciplinary spaces and centres of choreographic creation.

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Frequently asked questions

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  • ¿Se trata de un máster oficial o de un título propio? ¿Es una titulación adaptada a la normativa del Espacio Europeo de Educación Superior?

    El máster es un título oficial (en la actualidad se halla en trámite de verificación). En este sentido cumple los requisitos de la ANECA (Agencia Nacional de Evaluación de la Calidad y Acreditación) y tiene reconocido el Nivel 3 del Marco Español de Cualificaciones para la Educación Superior (MECES). También responde a la garantía de calidad del Espacio Europeo de Educación Superior y se corresponde con el Nivel 7 del Marco Europeo de Cualificaciones (EQF).

  • ¿Puedo acceder al máster si no tengo estudios de grado?

    SÍ, siempre y cuando estés en posesión de un título superior de enseñanzas artísticas, un título de grado o una titulación que, siendo ajena al Espacio Europeo de Educación Superior, acredite un nivel de formación equivalente.
  • ¿Hay preferencia de admisión para un perfil determinado de estudios?

    Tendrán prioridad los titulados superiores en Arte Dramático, Música y Danza.
  • ¿Cuáles serán los plazos de preinscripción y matrícula?

    El plazo de preinscripción se extenderá entre los días 5 y 23 de noviembre de 2018, ambos inclusive. El jueves, 28 de noviembre, se publicará la lista provisional de aspirantes admitidos en la página web del Máster y las fechas para las entrevistas, que se desarrollarán entre los días 10 y 14 de diciembre. El lunes, 17 de diciembre, se publicará la resolución de alumnos admitidos, que será comunicada de forma individualizada a los interesados. Por otra parte, los alumnos excluidos dispondrán de un plazo para la presentación de reclamaciones (entre los días 18 y 21 de diciembre). El periodo de matriculación comenzará el 14 de enero de 2019 y finalizará el 18 de enero.
  • ¿Cómo se realiza la preinscripción al máster? ¿Pudo cursarla telemáticamente? ¿Qué documentación debo presentar?

    • Los alumnos deberán registrarse telemáticamente en el portal académico para acceder al formulario de preinscripción (disponible en la web). De forma complementaria deberán remitir la siguiente documentación.
    • DNI/NIE/Pasaporte
    • Titulación académica que permita el acceso al máster (en el caso de títulos extranjeros, éstos deberán estar debidamente traducidos al castellano y legalizados por las autoridades competentes).
    • Certificación académica personal, con acreditaciones de los méritos alegados.
    • Curriculum vitae.
    • Carta de motivación (en la que el alumno expondrá por qué desea realizar los estudios de Máster).

    Asimismo, los candidatos deberán realizar una entrevista personal con los miembros de la Comisión Académica del Máster en el día y hora establecidos a tal efecto.

  • ¿Cuáles son los criterios de admisión?

    La Comisión Académica del Máster valorará la adecuación de los aspirantes con una nota numérica con un único decimal, relativa al expediente académico (40%), el curriculum vitae (30%) y la entrevista personal (30%).
  • ¿En qué consistirá la entrevista personal? ¿Puedo realizarla a distancia?

    La entrevista permite estimar la idoneidad y motivación del candidato, y valorar su perfil curricular. Asimismo, es una oportunidad para que el aspirante plantee sus dudas. En aquellos casos de carácter excepcional que no permitan concertar un encuentro de carácter presencial, la entrevista se realizará por videoconferencia o teléfono.
  • ¿Cuándo se dará a conocer la relación de alumnos admitidos?

    El lunes, 17 de diciembre, se publicará la resolución de alumnos admitidos, que será comunicada de forma individualizada a los interesados. En caso de que el número de aspirantes aprobados sea superior al de las plazas disponibles, se establecerá una lista de espera que permitirá, en caso de bajas, cubrir las vacantes por riguroso orden de puntuación.
  • ¿Dónde me puedo informar de los horarios y el comienzo de las clases?

    Las clases darán comienzo en febrero de 2019 y se desarrollarán de jueves a sábado. Los horarios definitivos serán publicitados con la suficiente antelación en la página web de la Escuela Superior de Arte Dramático de Castilla y León.
  • Si tengo alguna asignatura para terminar el grado, ¿puedo matricularme?

    No, es necesario estar en posesión de un título superior oficial.
  • ¿Cómo se puede acreditar el título, si todavía no se posee físicamente, al haber finalizado el grado recientemente?

    Mediante la certificación supletoria del título o mediante un resguardo que acredite que ha sido solicitado.
  • ¿Puedo cursar el máster en dos años?

    SÍ. El límite de unidades de permanencia para el máster es de 2 unidades. Cada año académico que el estudiante esté matriculado a tiempo completo consumirá una unidad de permanencia, mientras que cada año académico en régimen de estudiante a tiempo parcial, consumirá 0,5 unidades de permanencia (existen, no obstante, unidades de permanencia adicionales en casos especiales).
  • ¿Cuál es el número mínimo de créditos del que hay que matricularse?

    En el régimen ordinario de matrícula, a tiempo completo, 60 ECTS. Existe una modalidad de matrícula a tiempo parcial para los alumnos afectados por una discapacidad igual o superior al 33% o una enfermedad grave; para aquellos que estén al cuidado de personas dependientes mayores o menores; y aquellos que trabajen por cuenta propia o ajena (acreditando una actividad laboral mínima de 20 horas semanales).
  • ¿Cuál es el precio de la matrícula? ¿Hay algún tipo de descuento o exención de pago para desempleados o familias numerosas?

    El precio del crédito ECTS es de 46,66 euros. Por lo tanto, el importe de la matrícula completa asciende a 2.799,60 euros. Estarán exentos del pago total o parcial de la matrícula alumnos en los siguientes supuestos:

    • El alumnado miembro de familia numerosa de categoría especial estará exento del pago total; el alumnado miembro de familia numerosa de categoría general se le aplicará bonificación del 50% del precio.
    • El alumnado con discapacidad igual o superior al 33%.
    • Víctimas de actos terroristas o de violencia de género.
  • ¿Se permite el pago fraccionado? ¿En cuántos plazos y por qué cuantías?

    SÍ. En esta modalidad, importe de la matrícula será abonado en tres pagos, distribuidos de la siguiente forma:

    • Primer pago al formalizar la matrícula. Se abonará el 40% del importe total mediante pago bancario en efectivo o transferencia bancaria.
    • Segundo pago. Se abonará el 30% del importe total mediante domiciliación bancaria (las fechas serán anunciadas durante le periodo de matrícula).
    • Tercer pago. Se abonará el 30% del importe total mediante domiciliación bancaria (las fechas serán anunciada durante le periodo de matrícula).
  • ¿Cómo puedo acceder al programa de estudios?

    Esta información normalmente estará disponible en soportes impresos en la Secretaría y en el apartado "Plan de estudios" de la página web del centro (http://www.fuescyl.com/esadcyl).
  • ¿Convoca la ESADCYL o FUESCYL becas propias para cursar los estudios del máster?

    Para el presente curso académico no se contemplan becas propias.
  • ¿En qué instituciones podré cursar prácticas externas? ¿Cómo se realizará la asignación de esas prácticas?

    Las prácticas externas son uno de los valores diferenciadores de este Máster. Se cursarán en festivales, ferias, espacios culturales y centros de producción, creación y/o exhibición artística con los que existen acuerdos de colaboración. Su asignación se realizará atendiendo a los intereses y las aptitudes del estudiante..
  • ¿La asistencia a clase es obligatoria?

    La asistencia a clases es recomendable.
  • ¿Qué tanto por ciento de créditos matriculados son necesarios para realizar el TFM y las prácticas externas?

    12 créditos, teniendo en cuenta que el TFM y las Prácticas externas están planificados en el tramo final de formación del título.
  • ¿Me capacita el máster para hacer estudios de doctorado?

    SÍ, un máster oficial (a diferencia de un título propio) habilita para acceder al doctorado.
  • ¿El Máster contabiliza en una oposición?

    SÍ, un título oficial de máster (a diferencia de un título propio) puntúa en el baremo de las oposiciones.

 

Registered students must address their requests to the director of the Centre within the period indicated in the registration procedure.  The request form will be completed in accordance with the model available at the electronic headquarters of the Junta de Castilla y León, under the heading ‘Recognition and transfer of credits in higher arts education’. 

Once the request has been submitted, if the required documentation is not provided the interested party will be asked to remedy this within a period of ten calendar days.  Once these have elapsed and if the pertinent documentation has not been provided, the request will be dismissed.  Likewise, the Credit Recognition and Transfer Commission may request from the interested party any additional or complementary information required to resolve the request.  In the case where the resolution is being dismissed, the reasons for this will be given in writing.

 

In order to promote the mobility of students both among higher-education institutions in other countries and among higher-education institutions within the same country, ESADCYL has a regulation for recognition and transfer of credits that is in accordance with the provisions of Order EDU / 466/2017, 13 June, which regulates the system for recognition and transfer of credits in higher arts education delivered in the autonomous community of Castilla y León (cf BOCYL, 20 June 2017).  This regulation arises under the provision of Article 6 of the Royal Decree 1614/2009, 26 October, which establishes the ordinance of higher arts education regulated by the Organic Law of Education 2/2006, 3 May, where it is stated: ‘Educational Administrations will make public their regulations on the system for recognition and transfer of credits of higher arts education’.  Article 9 of the aforementioned order establishes the specific criteria for the recognition of credits in masters degrees:

  • Students registered for masters studies may only obtain recognition of credits obtained from studies at a level equal to or higher than the masters.
  • For this recognition of credits, specific criteria established in the standardisation report on the degree will be applied.  These can be found on the website of the centre in which the course is given.

General conditions for obtaining recognition of credits

 

Students may request recognition of credits obtained in official courses at other centres of higher arts education or at European Higher Education Area (EHEA) centres in accordance with the following premises:

  • In general, credits obtained in official education in centres of higher arts education or other centres of the EHEA may be recognised when there is a correspondence of more than 75 percent between the competences and contents of the courses already taken and those specified in the study programme for which recognition is requested, even though the courses of origin and those of destination may not have the same title.
  • There will be full recognition of subjects or courses taken on official university masters degree courses, depending on the suitability of competences and knowledge associated with the completed studies and those specified in the study programme of the Masters in Higher Arts Education.
  • Several subjects of origin may be used for recognition of credits corresponding to a single destination subject.
  • Recognised credits must correspond to complete destination subjects.  There will be no partial recognition except in the case of external placements.
  • Credits assigned to the Dissertation will not be recognised.
  • Recognised credits may not exceed 60 percent of the total credits of the study programme of the degree intended to be taken.
  • Requests for recognition of credits will have their origin in subjects or courses actually taken and passed; in no case will they refer to subjects or courses previously recognised, validated or adapted.
  • In the case of students participating in international mobility programmes endorsed by ESADCYL with universities or other higher-education institutions, recognition as stated in the academic contract established before their departure will be obtained.

 

Recognition of credits through work or professional experience

 

Work or professional experience may qualify for recognition of academic validity.  In this case:

  • The number of credits that are subject to recognition may not be higher than 15 percent of the total credits that constitute the study programme.
  • Recognition of these credits will not incorporate numerical scores, therefore said credits will not count for the purpose of rating student records.
  • Recognition of credits will always be carried out by analysing the correspondence between those accumulated on the Masters, which must always be duly verified, and those acquired within the framework of personal experience.

It will also be possible to recognise credits for work and professional experience in the case of students who meet and demonstrate the requirements indicated in Articles 11.4 and 11.5 of Order EDU/466/2017, 13 June.  In relation to the latter article, it will be the Credit Recognition and Transfer Commission that will specify the duration and type of activity necessary to proceed with recognition, taking into account that said duration must be at least the same number of hours as the ECTS credits they wish to have recognised.

 

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Quality Assurance System

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In order to assess the quality of the Masters Degree, the Escuela Superior de Arte Dramático de Castilla y León (ESADCYL) will follow the procedures and standards established by its internal quality assurance system in a manner that ensures effective management of the degree and appropriate decision-making for its control, revision and improvement.

Furthermore, this internal quality assurance system will ensure compliance with the provisions of Order EDU/1221/2011 of 29 September in Article 9 of its annex, thus making it possible to:

  • Ensure analysis of the development of the Masters Degree on the basis of procedures  established in the internal quality assurance system.
  • Identify possible shortcomings in the effective development of the Masters degree, analyse them and develop improvement actions.
  • Ensure public availability of information in order to ensure transparency and accountability.
  • Deliver recommendations and/or suggestions for improvement of the internal quality assurance system.

 

These tasks are the responsibility of the Quality Assurance Committee, which will assess the quality of the degree through established procedures.  The Committee will be composed of the following unipersonal entities:

 

  • President (director of ESADCYL)
  • General Quality Coordinator (Director of Studies at ESADCYL)
  • Secretary (secretary of ESADCYL)
  • Academic coordinator of the Masters Degree
  • Academic coordinator of the Masters Degree??
  • Teacher representative
  • Student representative
  • PAS (Personal de Administración y Servicios/Administration and Services Personnel) representative
  • Employment advisor
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Registration

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Registration procedure

Registration will be completed online using the Codex program at the portal www.fuescyl.esadcyl.master.com.  You will be able to formalize your registration next January 2020. After completion, the student must provide the following documentation:

  • Original registration receipt from the Codex program, signed by the student.
  • Copy of Form 046 (payment of public fees: opening of files and administrative services) paid for in full and stamped by the banking institution. (More Information). Payments will be in accordance with public fees for secretarial services (currently those approved by Ordinance 11/2015 of the Consejería de Educación de la Junta de Castilla y León, 29 January, 2015, ‘by which public fees for specialised education in the autonomous community of Castilla y León for the academic year 2015/16 are established’ (see BOCYL, Feb 2, 2015; text available at (More Information) and, in the case of newly-admitted students, for services pertaining to the opening of academic files.
  • Original bank receipt for payment (in cash or by bank transfer) of the registration fee and accident and health care insurance.  Students who are eligible for exemption from or reductions in registration fees will not need to present the bank receipt, but must provide the original and a copy of a valid document confirming eligibility for such exemption or reduction.  If this documentation is sent by registered post, a certified photocopy must be presented.
  • In the case of instalment payments, the duly completed and signed form relating to the SEPA (Single Euro Payments Area) direct debit must be provided, together with a certificate or receipt issued by the banking institution, or a photocopy of the bank book that irrefutably verifies the name of the account holder and the account number.
  • Photocopy of ID/NIE/Passport
  • Three passport-sized photographs.
  • Photocopy (if applicable) of the Large Family Book.

 

Types of registration

There are two types of registration: full-time and part-time (the standard registration scheme being that of full-time students).

  • FULL-TIME students:  60 ECTS credits.
  • PART-TIME students:  minimum 30 ECTS credits.

Save in exceptional cases, duly justified and verified, changes of registration will not be authorised during the academic year. In all cases, these have to be expressly approved by the Director of the Centre.

Part-time students

Students may apply for part-time student status.  In order to qualify for the status of part-time student, one of the following conditions must be met and verified:

  • Being in employment:

    • In the case of employed workers, the student must provide an up-to-date Informe de Vida Laboral (employment history report) from the Spanish Social Security, as well as a certificate issued to this effect by the owner of the company or by the staff manager of the same, confirming a minimum of 20 hours of work per week.
    • In the case of self-employed workers, in addition to the Spanish Social Security employment history report, certification of registration for Impuesto de Actividades Económicas (Economic Activities Tax) and a photocopy of the payment of the corresponding quota for the current year must be provided.
  • Caring for a relative up to the second degree of kinship by consanguinity or affinity.
  • Being affected by a degree of physical, sensory or mental disability equal to or greater than 33 %, which must be recognized by the competent authority and documented.
  • EBeing affected by serious illness (a medical report must be provided).

 

However, the Masters board of directors will analyse each case and, following a report from the Masters Academic Committee, will deal with the applications presented by the interested parties, which must be duly justified and documented.

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Admission

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Access procedure 

  • Students interested in taking the Masters must register on the academic portal in order to access and complete the pre-registration form. This must then be emailed to the Masters programme This email address is being protected from spambots. You need JavaScript enabled to view it. together with the following documentation:
    • ID/NIE/Passport.
    • Academic qualifications required for access.  Students from abroad must submit a certified photocopy of the qualification translated into Spanish by a sworn translator.
    • Personal academic certificates stating all courses taken and grades obtained.  Students from abroad must submit these certificates translated into Spanish.
    • CV (maximum three pages).  An accredited certificate verifying qualifications must be submitted.
    • Cover letter for taking the Masters (maximum two pages).
  • The pre-registration period will be extended from september 14th to December 14th, 2020, both inclusive.
    • On December 15th, 2020, the provisional list of admitted candidates will be published on our website. The excluded will have a six calendar days period to submit any claim and/or correct mistakes in the documentation provided.

    • On December 22nd 2020, once the claims period is closed the final list of admitted and excluded students will be publish, as well as the days and schedules chosen for the personal interviews. The Academic Committee of the Master will be contemplate the chance of do these interviews by videoconference or telephone. 

    • The personal interviews with candidates will be held between January 12th and  January 14th ,2021
    • On January 15th , 2020will be publish the final list of admitted students 

     

Selection Criteria

Selection Criteria


one 1Academic record: 40 % of the final score.


two 1CV: 30 % of the final score.


three 1Interview: 30 % of the final score.

 
Pre- registration:   From September 14th  to December 14th, 2020
Holding of interviews of applicants with the Academic Committee of the Master  From January 12th to 14th, 2021
Enrollment period  From January 19th to 26th, 2021

 

Entrance requirements

The Masters course will be open to:

 

  • Those with higher-education qualifications in arts education, priority being given to Drama, Music and Dance.
  • University graduates, or those with an equivalent official qualification issued by an institution of the European Higher Education Area (EHEA) that authorises access to the Masters degree in the country that issued said qualification.
  • Qualified students outside the EHEA, after prior verification by the competent educational administration that they have achieved an equivalent educational level (the qualifications themselves do not need to be officially recognised). Access obtained in this way will in no case mean official recognition of the qualification held by the interested party, or serve for purposes other than taking the Masters degree.

Beyond postmodernity and under the effects of globalisation, performance practices and their mechanisms have diversified.  If, decades ago, there was talk about combining conferences with dance, recitals with rock, or comedy with opera, nowadays the temptation to produce hybrids is also shot through with the new developments in hypermedia and virtual reality.  As a consequence, aesthetic experience has been pluralised.  Today we speak of ‘theatre in the expanded field’.  Looking out on all the possibilities of visual culture – including practices such as the living arts, which up to now have been marginalised in the institutional and academic field – is not only a sine qua non for genuine erudition, but also an incentive to the versatility of creative artists and the search for their own voice.  Moreover, the module involves the presence of a variety of invited artists and academics who will interact with the students so as to establish shared, participative experiences, in order to transmit the foundations of their poetics and help students to discover their own.

 

  • Theoretical and conceptual foundations of contemporary artistic investigation (4.5 ECTS)

    This class expands the channels of enquiry into the contemporary stage, going beyond traditional analyses and facilitating understanding of complex phenomena (plays, processes of creation and reception). In order to do this, some of the latest theories and conceptual systems will be analysed, and the student will become familiar with useful perspectives for undertaking research projects.

     

    Simone TRECCA (SAPIENZA)

    Simone TRECCA (SAPIENZA)

    Introduction: From semiology to the return of poetics 

    The seminar proposes a journey through the main currents of theatrical research from the 20th century to the present day, from the rise of semiology to the return of poetics. We will look at semiological studies that –applied to theatre – investigated the differences between literary text and dramatic text, in search of the systems of verbal and nonverbal signs that are the backbone of dramatic communication, and we will analyse recent contributions to the study of modern theatrical poetics by Jean Pierre Sarrazac (The Drama in Becoming: Contemporary Dramatic Writings, Intimate Theatres, The Theater Critic, The Disenchantment Utopia, Poetics of Modern Drama, etc), among other authors.

    Pierre PIRET (Université Catholique de Louvain [UCL])

    Pierre PIRET (Université Catholique de Louvain [UCL])

    Theatrical studies and Freudian-Lacanian psychoanalysis 

    Aesthetic experience (on stage in particular) appeals to our representations, beliefs and knowledge; our perceptive, emotive and intellectual faculties. How can we transmit this complex experience without reducing or diminishing it? How can we develop a discourse that can explain not only what the work means, but how it affects each and every one of those involved in the creative project? There is no creation without discourse or theorising. Freudian-Lacanian psychoanalysis takes note of this essential postulate and proposes a whole series of valid concepts to account for our aesthetic experiences. To initiate ourselves in this theoretical orientation, we will put forward rich and complex material such as La Musica Deuxième by Marguerite Duras, a text that, on the one hand, opposes discourse and, on the other, multiplies it. Combining analysis, theory and practice, we will try to activate this text, using the propositions of Jacques Lacan as a guide.

    Claudio Castro Filho

    Claudio Castro Filho

    Form and concept in creative processes  

    The dialogue between formal structures and poetic approaches constitutes the axis of creative processes and, in particular, of creative performance. The contradiction lies in the fact that artistic thought is not governed by a Cartesian methodology, but opens up indeterminate ways of structuring and conceptualising. This seminar aims to investigate the problem of form and concept in creative processes by inquiring into the relationship between art and epistemology. Taking the propositions of Umberto Eco (The Open Work: Form and Indeterminacy in Contemporary Art) and Gaston Bachelard (The Poetics of Reverie) as a starting-point, we will explore the presence of accidental processes in creative practice.

  • Poetics of the body (4.5 ECTS)

    The thinking and practice associated with corporeality are the starting point for a module that examines different forms of language and poetics, focusing on their constituent elements: breathing, time, space and composition. Likewise, it addresses specific milestones of choreographic creation and dance which have had a broad impact on diverse areas of study such as philosophy. This encourages students to listen to choreography, and urges them to use the body as an active interpretative platform.

     

    Roberto FRATINI (INSTITUT DEL TEATRE)

    Roberto FRATINI (INSTITUT DEL TEATRE)

    Introduction: The Dramaturgy of Movement 

    This seminar offers an articulate definition of the concept of the dramaturgy of dance (and, in general, ‘silent dramaturgy’) with abundant references to the analogies between the paradigms of meaning of said dramaturgy and the most timeless of mythopoeic paradigms. It addresses the historical reasons for the emergence of this dramaturgical typology; the poetic enclaves in which it was conceived, especially since the 1980s (with reference to Tanztheater in particular); its different formats (including Agamben’s apparatus*); and the possible discussion of the dialectical tension between the dramaturgical and the performative.

    Jaime CONDE SALAZAR

    Jaime CONDE SALAZAR

    The Performativity of Incarnation 

    Under this heading, we approach the question of the performativity of incarnation – that is, the presentation of the flesh. What kind of reality is produced by the body exposed as flesh/carnality? The representation of the body of Christ within Baroque culture will be taken both as a case study and as the starting-point from which we will approach skin, touch and gaze as a consequence of the desire of the skin. Going beyond the idea of ​​‘naturalism’ appropriate to the story of the history of art, ideas will be put forward to reflect on the dramatic opportunity that the exhibition of skin gives rise to. In the National Museum of Sculpture (Valladolid), we will take as examples the works of Berruguete, Juni and Gregorio Fernández, in addition to other key works relating to the representation of the flesh.

    Pablo TROCCOLI

    Pablo TROCCOLI

    Perception, Emotion and Thought in Action 

    This seminar proposes an investigation of the corporeal reality of the participants themselves. We will investigate the relationship of the body with the development of our perception of reality, our sensitive positioning within it and its influence on our thinking and creative task. The seminar will be developed within a conceptual framework related to the phenomenology of perception expressed by the philosopher Maurice Merleau-Ponty, and to Thomas Hanna’s somatic reading of the central aspects of his work. Within this context, priority will be given to first-person experience, in which the object of exploration – the terra incognita of our bodies – and the subject of the exploration coincide.

    Claudio CASTRO

    Claudio CASTRO

  • Textual surfaces (4.5 ECTS)

    'Textual surfaces' deals with the practices of writing and playwriting that lie beyond central poetics. The text is considered as an interwoven fabric or latticework. How can such density of signs and symbols in a score, a device, a theatrical text or a show be arranged? We are invited to think about language as a territory of what is possible and thinkable, without losing sight of the materiality of words (their possibilities and aesthetic uses) and verbal occurrences.

     

    María VELASCO (ESADCyL)

    María VELASCO (ESADCyL)

    Introduction: Contemporary Stage Writings 

    Thanks to the path undertaken from the end of the nineteenth century through to post-dramatic theatre, the overcoming of text-centrism on the stage has not demotivated the dramatist, or even the author of the text. As the scholar Eduardo Pérez Rasilla affirms, the word – freed from its functional tasks relating to dramatic action – has regained its material visibility and has gained new possibilities and aesthetic uses on stage. Based on the theoretical framework supported by – among others – Lyotard, Sarrazac and Lehmann, and taking examples of new dramaturgy as a starting-point, the student will start to explore experimental textual practices.

    Jonathan CHÂTEL (UCL)

    Jonathan CHÂTEL (UCL)

    Dramaturgy from non-theatrical text materials 

    Taking as a reference non-theatrical textual materials (novels, poems, film scripts, documentary materials) this seminar will aim to introduce thinking into the practice of contemporary theatrical writing, in which adaptation, rewriting and research hold a prominent position. We will begin by studying, for example, Krystian Lupa’s adaptation of Kafka, the work of Guy Cassiers on the contemporary novel, the poetic breach of Anja Hilling’s dramaturgy, and Milo Rau’s documentaries. Exercises will be set on the relationship between the page and the stage, between text and the elements of the theatrical language.

    Borja ORTIZ DE GONDRA

    Borja ORTIZ DE GONDRA

    Self-fiction as a dramaturgical tool 

    In post-dramatic theatre, there has been a proliferation of non-fiction on stage, and stage creators have lost their inhibitions when it comes to speaking in the first person from their deepest self. But that ‘I’ that we put on the stage: is it the same ‘I’ that makes confessions in our diaries? Is the extra element of truth in autobiographical materials enough to interest the spectator? Given that our goal should always be to communicate, how can we avoid falling into narcissism and exhibitionism? In this seminar we will work on the generation of stage materials using stories, objects, memories and dreams of our own, focusing on the fine line between the real and the fictional, and exploring how to make something intimate into something collective and transmissable so that it has artistic value.

  • Living arts (4.5 ECTS)

    ‘Living arts’ explores the contemporary forms of artistic expression that have emerged on the margins of theatricality and that constitute hybrid languages, resistant in their heterogeneity to any typification or canonical analysis. Artistic explorations (installations, soirees, actions, performances, site-specific events …) that, renouncing convention, blur the limits between art and life – favouring playfulness, rituality or activism – will be analysed and documented.

     

    Judith Pujol

    Judith Pujol

    Introduction: Living arts, past and present 

    The living arts recover the spirit of the avant-garde; theatre as an event in which body and space are the main drivers. This movement has its origin in the artistic experiences of the sixties, and today is at the very centre of experimental creation. In this seminar we will trace an itinerary from the origins of these manifestations to the present day. We will also investigate the representation and materialisation of the thought of the creators in situations that break with established theatrical convention, thus placing themselves on the front line of the genre.

    Claudia FACI

    Claudia FACI

    Community and possible worlds in the living arts 

    This seminar offers a research space on the basis of the dialogue between discursive and social practices, based on two seminal texts: Jean Baudrillard’s Seduction (1990) and A nuestros amigos (2015) by Comité Invisible. Taking these texts as our starting-point, we will work on the subjective and critical dimension of the participants, each considering himself/herself as a being susceptible to aesthetic information, a thinking body and body-archive. The exploration will place special emphasis on the relationship between word and body (transverse dramaturgical works) and automatic writing through physical exercises. Using this practice as a basis, the political and ethical dimension of the body and its relationship/confrontation with the body of the other will be analysed.

    Antonio OLAIO (UC)

    Antonio OLAIO (UC)

    Marcel Duchamp: Aesthetic experience and expanded reflection of the concept of the individual 

    Taking Duchamp's works as a starting-point and considering the relationship between the everyday and its decontextualisation (readymades), this seminar will explore the conceptual games in operation through performance, understanding the latter as a singular act that gives visibility to gestures that – in other media – would lack relevance. In the seminar we will look at commentary on Duchamp’s images and examples of performances, with the aim of fostering new artistic projects that the students will be able to try out in their speculative dimension, independently of their effective realisation.

    Shaday LARIOS

    Shaday LARIOS

    The staging of unstable elements 

    The purpose of this seminar is both to reflect on the evolution of the treatment of everyday objects and other elements on the contemporary stage, and to self-observe and investigate how some of these forms may have an impact on the practice of each participant. We will start by looking at some of the propositions that prompted the appearance of the so-called ‘theatre of objects’ in the 1980s. We will then go on to explore various creative premises concerning ‘object-centrism’ and its poetics in order to draw up a roadmap of terminology, tactics and referents concerning the inanimate: contemporary bio-objects, stage micrologies, live film animation, documentary objects, etc.

  • Musical and sonic territories (4.5 ECTS)

    This class looks at the changes in music from the 20th century to the present day, drawing on research and experimentation based on all the parameters to which it is subject (harmonic, rhythmic, tonal, melodic, acoustic) and on the modifications that have affected its production, diffusion and reception in the digital age. What are the premises and challenges of new forms of musical composition? Who are they aimed at? How do they interrelate with other arts?

     

    Maite FERRER (VIU)

    Maite FERRER (VIU)

    Introduction: For a contemporary look at music 

    Musical thought underwent a radical change in the 20th century thanks to the epistemological contributions of Carl Dahlhaus. His hermeneutic vision of the history of music generates the concept of ‘musical fact’ comprehended as the understanding of the context in which music performed a function. This understanding implies a complementary view of the subject, which would be the view ‘from within’, and that of the object, which would be the view ‘from without’. In this way, the concept of ‘musical work’ ­– the object on which the history of music had hitherto been constructed – is diluted in the musical ‘meaning’ derived from the intention of the composer, the idea of ​​the historian and the source. The Dahlhaus conception proposes the understanding of the work of art from its own creative process, thus aligning itself with the postulates of contemporary artistic forms.

    Antonio NOTARIO (Universidad de Salamanca [USAL])

    Antonio NOTARIO (Universidad de Salamanca [USAL])

    Inhabiting sound 

    We do it unconsciously and all the time: we inhabit the interior of sound. A sound that only exists in listening, like its reverse: silence. Listening, silence and sound are interwoven in music. We are – or at least we can be – in that network of invisibilities that, nevertheless, affect us at the core of our intimacy, in our deepest self. Bach, Cage, Haydn, Mozart, Schoenberg, Stravisnky, Strozzi, von Bingen and Weill knew it, as did Berceo, Bachmann, García Lorca, Gil Albert, Gil de Biedma, González, Hierro, Szymborska and Whitman. With them, and also with Adorno, Hegel, Nietzsche; with the sound landscapes of Schafer and, above all, with the potentialities and experiences of each participant on the course, new possibilities will be sought to inhabit sound, to activate listening, to identify music and to relish silence.

    Jordi  PONS  (Valencian International University [VIU])

    Jordi PONS (Valencian International University [VIU])

    From the project of the total work of art to the criticism of languages: Arnold Schoenberg 

    The theatre is the privileged space for the convergence and interaction of diverse artistic expressions. The composer Arnold Schönberg, like his friend the painter Vassily Kandinsky, is by no means alien to the romantic and Wagnerian project of the Gesamtkunstwerk. But neither is he to that which implicitly questions it: the philosophical inquiry into the limits of the scope of language, a question which, in the case of Schoenberg – of Jewish origin – ends up being raised in the aesthetic-theological sphere.

The elements that this module comprises are intended as the culmination of the course.  The Dissertation is the cornerstone of the study programme: it develops both student autonomy and the skills acquired in the previous modules.  Given the hybrid nature of the Masters, halfway between genuinely academic reflection and artistic experimentation, students – in close collaboration with their tutor – will carry out a research project (either theoretical or artistic/creative in nature) with sufficient scientific foundations.  The external placements, for their part, form a bridge with the world of work.


 PLACEMENTS AND DISSERTATION

 Nº ECTS

SEMESTER

External placements

 2º

Dissertation*

12 

2º 

 

* Masters placements are supervised by a professional who is also responsible for the relationships with external partners, in accordance with the firm pedagogical beliefs of the Escuela Superior de Arte Dramático de Castilla y León (ESADCYL).

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Teaching Staff

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The Masters Course will bring together on its teaching team professionals of proven academic background and leading creative artists renowned within their artistic fields.

 

Educational team

María Velasco

María Velasco


 

Writer, stage creator and teacher at the Escuela Superior de Arte Dramático de Castilla y León

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Santiago Alba Rico

Santiago Alba Rico


 

Writer and essayist

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Roberto Fratini Serafide

Roberto Fratini Serafide


 

Playwright, teacher and dance theorist

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Luís António Umbelino

Luís António Umbelino


 

Professor, researcher and essayist

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María Teresa Ferrer Ballester

María Teresa Ferrer Ballester


 

Doctor of Musicology

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Adrián Pradier

Adrián Pradier


 

Doctor of Philosophy and teacher at ESADCYL

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José Manuel Chillón

José Manuel Chillón


 

Doctor of Philosophy and writer

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Shaday Larios

Shaday Larios


 

Director of Microscopía Teatro

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Judith Pujol

Judith Pujol


 

Creative performer, teacher, and artistic coordinator of the Teatro Español de Madrid

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Luz Arcas

Luz Arcas


 

Luz Arcas

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Davide Carnevali

Davide Carnevali


 

Davide Carnevali

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David Rodríguez Solás

David Rodríguez Solás


 

David Rodríguez

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Víctor Sánchez Rodríguez

Víctor Sánchez Rodríguez


 

Víctor Sánchez Rodríguez

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Fran MM Cabeza de Vaca

Fran MM Cabeza de Vaca


 

Fran MM Cabeza de Vaca

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José Antonio Sánchez

José Antonio Sánchez


 

Más información

 

 

Direction team

José Manuel Mora Ortiz

José Manuel Mora Ortiz

Management


 

Author, playwright, Director of the Escuela Superior de Arte Dramático de Castilla y León (ESADCYL)

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María Velasco

María Velasco

Academic coordination


 

Writer, stage creator and teacher at the Escuela Superior de Arte Dramático de Castilla y León

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Javier Hernando

Javier Hernando

Academic secretary


 

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Adrián Pradier

Adrián Pradier

Coordination of TFMs


 

Doctor of Philosophy and teacher at ESADCYL

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Juan José Fernández Villanueva

Juan José Fernández Villanueva

Coordination of External Practices


 

Doctorate from the University of Alcalá and Professor in the ESADCYL Stage Management Department

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Location

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SCHOOL OF DRAMATIC ART OF CASTILLA Y LEÓN

Centro Cultural Miguel Delibes  

  • Dirección: Avda. del Monasterio de Ntra. Sra. de Prado, 2 47015 Valladolid  
  • Tel: 983 26 86 49
  • Fax: 983 38 67 11 
  • Email: artedramaticocyl@educa.jcyl.es

 

 

Publications

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