YEAR COURSE - Winter term / Jan-March

The Winter Course is made up of three different subjects which follow the stream of Philippe Gaulier’s pedagogy. This course is the beginig of creating. At the end of each workshop, students will present the piece they created.

Masked Play will teach us what theatrical effects  will captivate the audience. The actor must try many things to give life to the mask. How should we move and what rhythm should we give? One day, if your mask starts to be alive, let’s try to discover the story of this mask and follow the world of this mask.
Melodrama will teach us what theatrical effects from another angle. 1000 fixed points, the actor is silent, walks with the noise of her shoes, sees something in the sky, sits on the bench, sings softly … The actor’s gestures and pauses are all effects that draw the audience into the world and inspire the audience’s imagination. At the end of this workshop students will present a piece  of contemporary melodrama they created.

Bouffons  Entering the world of Bouffon you need to have a special spirit. The Bouffon is an out cast. They have the eyes of outsider. Look at GOYA’s ‘black paintings’.You will see fantastic humanity in hell.

Classes will be hold everyday Monday to Friday

Group A / Morning class: 9:30-13:30

Movement class 9:30-11:00   Improvisation class: 11:30-13:30

Masked Play + Bouffons

Group W / Afternoon class: 13:00-17:00

Movement class 13:00-14:00   Improvisation class: 15:00-17:00

Melodrama + Bouffons

Full Winter Course

Movement class 9:30-11:00,    Improvisation class: 11:30-13:30,  Break (one hour), Improvisation class: 15:00-17:00

Masked Play + Melodrama + Bouffons

The first 4 weeks, we start with two different courses, one will be held in the morning and the other in the afternoon.

Students can choose Masked Play? or Melodrama? or both? If you are interested in taking both classes, this is absolutely possible.

Students may choose to do one course, a number of courses or to do the whole year – it is up to the student to decide.

You can take any combination of courses, it is not necessary to do a full term or a full year.

The discount price was set up for students doing a full term or seasonal courses.

Philippe Gaulier will teach improvisation class  three times a week. The other improvisation classes and all the movement classes will be taught by his assistant.

All our teachers are graduates of our school and are wonderful artists.

This class has a capacity of 30 people. Classes may be cancelled if the number of applicants is less than 20 people.

Some characters need a costume and make-up to live. The character follows the actor faithfully.Other characters demand costumes and make-up, plus a mask. It’s different. Very different. the mask doesn’t follow. it comes first. The actor follows. Operates it. Manipulates it. A mask gives incomparable impulses. Masks studied: those of the carnival of Basel, of the Commedia dell’Arte, those which the students make.


The time for lightness has arrived. Moliere, and Goldoni will lend their texts to the actors who will have a lot of fun, like the fun we have in Seville the week of feria, late into the night and into the early morning. Here, everything is entertainment, charm, distraction, enjoyment, serenade, nonchalance.

It’s true that playing is a luxury and that one plays better when hunger is not gnawing away at one’s stomach. An actor who played beneath two thousand light projectors without showing in his eye the desire for something useless, extremely useless but very desirable, would not be good. Schools open the atelier and students make their own masks. Students will present short pieces with their own Mask at the end of 4 weeks work.

Melodrama is a form of ideological theatre born in France around the mid-19th century and in which the actors played for all they were worth.

They copiously exaggerated their gestures, spoke in loud, slow voices full of pathos and rolled their ‘r’ s a great deal. They greatly amplified the noise of their shoes and when they stopped moving,  their fixed point lasted a long time,  a very long time. The solemnity of their themes – the poverty of the people, the tubercular prostitute,  the lighthouse keeper who must kill his rabid son etc. – can explain this grandiloquent, bombastic style,  but so too can the lack of material means: the lighting is dim, the audience in the gods rowdy and drunk. They must be subdued at all costs by raising the actor’s voice more and more. The man who has been drinking must be given strong, resistant fixed points in order to help him not lose his balance.

The melodrama actors show an incomparable pleasure in playing and the exaggeration on which they built this style remains today a great lesson in theatre.  Of course,  the themes treated can seem a bit ridiculous but a good melodrama reminds us that around the age of eleven we cried a great deal Reading ‘‘Sans Famille’’ by Hector Malot or ‘‘David Copperfield’’ by Dickens. Those were the good old days! The melo days.

The Bouffon is a crippled out cast, a lame person,  a legless or one-armed cripple,  a dwarf,  a midget,  a whore, a homosexual,  a witch,  a heretical priest,  a madman.  He has not been chosen by the gods.  He has been chased into the swamps and ghettos by the children of god in fact,  who have seized the opportunity to announce that in view of the bouffon’s physical and moral ugliness,  the father could not be a great artist of international fame. So his father was the opposite of God,  his father was the devil Lucifer. The Bouffon was elected son of the devil and he was happy about this.  He was happy to be the son of the first Tempter and of the first women seduced: Eve.

In the Bouffon workshop we learn to be a big person who enjoys being Small, with a special additional pleasure enjoyed by those people: blasphemy.