Digital Theatre Workshop

Digital Theatre Workshop

dtw

The Future of Theatre

This page has been created to host the resources shared or used by Beatriz Cabur during her Digital Theatre Workshop. This Digital Theatre Workshop has been taught onsite at the University of London, at the RESAD Madrid and several times online for audiences and students anywhere in the world.

If you want to book Beatriz to teach this workshop click here.

2 + 6 =

Life is a Dream

Life is a Dream

Life is a Dream

Life is a Dream, by Beatriz Cabur, is a one actor journey through the backstories of the characters in the original play, written by Calderón de la Barca in 1635, to explore its main themes (power, trauma, rape, oppression, ageism…) and how they manifest in our present world and in ourselves.

Written by Beatriz Cabur

Performed by Ignacio Garcia-Bustelo

Date: Saturday, October 30, 2021 at 7:00pm Eastern Time

Running Time: 70 minutes

Language: English

Location: IATI Theater (64 E. 4th St. NYC)

This is a work-in-progress performance piece. It’s shared with the intention of garnering audience feedback and to inspire further realization.

This performance is free of charge – your kind donation is accepted. All proceeds ensure that IATI Theater continues its work as a performing arts organization, producing programs like this one.

Seating is limited–RSVP by clicking here

Childbirth-19

Childbirth-19

Childbirth-19

This work has been commissioned by Procreate Project

with public funding from Arts Council England

written and directed by Beatriz Cabur

with Emma Bakare

A Brand New Digital Theatre Play

Childbirth-19 is a new digital theatre play specifically written to be performed online. The play depicts childbirth in times of Covid-19 and tackles how the experience of pregnancy and labour is shaped by systemic trauma, as due to coronavirus, childbirth interventions and mistreatments have increased, disregarding women’s needs and rights.

Based on Real Life Experiences

Major traumas and long lasting damages have been inflicted in the name of minor risk prevention, leaving women without birth partners, not allowing home births, having midwifery led units, ultimately not giving choices to women on where and how to give birth and separating babies from their parents right after birth.

Developed with birthworkers

The play is also informed by conversations with childbirth professionals and birthworkers. By collecting the stories of women who have assisted women in labour or work in defending their rights during the COVID-19 pandemic, Childbirth-19 will also reflect their experiences and amplify their voices.

Proudly Supported by Birthrights.

Birthrights is the UK’s only organisation dedicated to improving women’s experience of pregnancy and childbirth by promoting respect for human rights. We believe that all women are entitled to respectful maternity care that protects their fundamental rights to dignity, autonomy, privacy and autonomy.
 
 
You can find information about your rights in pregnancy and childbirth in our factsheets and in our Coronavirus FAQ. You can find template letters to challenge visiting restrictions on our website.
We can also advise you directly via our contact form or advice@birthrights.org.uk.
 
Birthrights is a small charity with a big mission. We need your help to support more people who need our advice about Covid-19 and their pregnancy and birth. Please donate today.

 

THE MIND-BOGGLING SHRINKING WOMAN

THE MIND-BOGGLING SHRINKING WOMAN

THE MIND-BOGGLING SHRINKING WOMAN

“THE MIND-BOGGLING SHRINKING WOMAN” tackles childbirth and motherhood. A short play written and directed by Beatriz Cabur (with a little borrowing from Lars Von Trier) to be performed by Mirko Grewing. This play has been commissioned by Procreate Project as a part of the symposium “OXYTOCIN, Birthing the world” that took place on Saturday, June 3rd at the Royal College of Art. 1 Hester Road, London SW11 4AN

READ THE WHOLE PLAY CLICKING ON THE IMAGE BELOW

WATCH THE #LIVE RECORDING clicking on the video below.

A man performs the journey a woman endures from being regular sized to a barely noticeable, almost impossible to be heard miniature of herself. The text reflects on how the treatment provided by the medical profession during the pre-pregnancy, pregnancy, delivery and post-partum time impacts on the body and mind of women.

Woman in the poster: Dyana Gravina

LIL’BIRD2

LIL’BIRD2

LIL’BIRD2

LIL’BIRD2 premiered on May 23rd on facebook LIVE!!

 
 
LIL’BIRD was written and performed in English. LIL’BIRD2 has been originally written in English but it has been translated and developed in Spanish, it was performed in Spanish on May 23rd, 2018 with the following artistic team:

Carolina Lapausa as CARLOTA FITZ-PATRICK DE LA VEGA
Sara Moros as ISABEL DE LA VEGA
Sandra Dominique as LUISA LÓPEZ LAMAS
Laura Aparicio as MARÍA MACÍAS MARCO
Laura Madera as SARA SWARTZ

Assitant Director: Laura Madera

Stage Manager: Eugenia Peral

Playwright and Director: Beatriz Cabur

Would you like to know more about the first LIL'BIRD?

¿Quieres leer "PÍO PÍO 2"? (Versión en español)

PIGWASH

PIGWASH

PIGWASH

Un miércoles 20 de diciembre recibí un mensaje grupal de WhatsApp felicitándonos las fiestas. El mensaje era un texto infinitamente largo, escrito en caracteres chinos. Copié el mensaje, lo pegué en Google Translate y el texto resultante se me apareció claramente como el material de una comedia postdramática del absurdo. Pero no sólo eso. Una comedia postdramática del absurdo encontrada en la Biblioteca de Babel. Casi nada. Para los que no estéis familiarizados con este fantástico relato breve de Borges lo podéis leer haciendo clic aquí. La Biblioteca de Babel es ese espacio en el que existen todos los libros escritos y por escribir, y todas sus variaciones. Todas las posibles combinaciones de los veinticinco símbolos ortográficos. Existe tu biografía y la mía y todo lo demás.

“El número de símbolos ortográficos es veinticinco. Esa comprobación permitió, hace trescientos años, formular una teoría general de la Biblioteca y resolver satisfactoriamente el problema que ninguna conjetura había descifrado: la naturaleza informe y caótica de casi todos los libros. Uno, que mi padre vio en un hexágono del circuito quince noventa y cuatro, constaba de las letras MCV perversamente repetidas desde el renglón primero hasta el último. Otro (muy consultado en esta zona) es un mero laberinto de letras, pero la página penúltima dice «Oh tiempo tus pirámides». Ya se sabe: por una línea razonable o una recta noticia hay leguas de insensatas cacofonías, de fárragos verbales y de incoherencias.“

“Cuando se proclamó que la Biblioteca abarcaba todos los libros, la primera impresión fue de extravagante felicidad. Todos los hombres se sintieron señores de un tesoro intacto y secreto. No había problema personal o mundial cuya elocuente solución no existiera: en algún hexágono. El universo estaba justificado, el universo bruscamente usurpó las dimensiones ilimitadas de la esperanza.”

Hasta que lei la traducción de ese mensaje de WhatsApp nunca me había planteado que en la Biblioteca de Babel hubiera obras de teatro. Qué maravillosa realización. Esa idea me pareció motivo suficiente para desarrollar el texto que vais a encontrar a continuación. Porque como dramaturga es mi trabajo reivindicar la presencia del teatro hasta en la Biblioteca de Babel.

NOTA DE LA AUTORA

PIGWASH es un texto dramático (postdramático performativo del absurdo) que reivindica el teatro como espacio lúdico. Nos volvemos locos a veces con la seriedad y la ambición de cambio que queremos tengan nuestros textos. Yo la primera, mientras escribo esta obra tengo otra pendiente sobre la violencia doméstica, que en mis horas orgullosas me parece capaz de lanzar olas de concienciación y toma de responsabilidad por parte de la sociedad en su conjunto, a los cuatro vientos.

Pero el teatro no es sólo eso. Material escénico es todo aquello que nos atrevamos a decidir que es material escénico. ¿Por qué debería alguien elegir montar este texto? ¿Y por qué se elige cualquier otro? ¿Y qué si este texto no se monta nunca? ¿Y qué si nadie lo lee entero? ¿Y qué si alguien se enfada mientras lo lee y no vuelve a leer nunca nada que yo haya escrito? Ni siquiera mis obras “serias”. Las que rezuman ambición de cambiar el mundo. Qué pena sería perder público por esta extravagancia. ¿No? Meh.

Asumido el riesgo seguimos adelante porque al final ese espectador / lector ideal para el que escribirmos las dramaturgas y dramaturgos del mundo, alguna vez está bien que seamos nosotros mismos. Os invito amablemente a leer esta obra pero podéis dejarla inacabada o buscar entre los “diálogos” las sorpresas que se van desarrollando, o no. Cava y escarva entre los textos, no pierdas la esperanza, aguza la memoria y puede que la disfrutes. Leela en alto y puede que te lleve a un estado meditativo fuera de este mundo y ahí quizá decidas montarla. ¿Por qué no? Déjate llevar por la Luz Macho y el Sitio Web en verano.

Quizá no es todo tan lúdico como os estoy diciendo. Tómate a los personajes en serio y date cuenta de que, al final, no somos mejores o peores que ellos. Toda nuestra capacidad articulativa, en 2017, no sirve de nada. Ahí está el mensaje. Ya podéis no leer la obra ahora. Ya os he contado de qué va. 2017 es el despropósito más grande que hemos vivido hasta la fecha. Ahora que nos preparamos para subir otro escalón, quería dejar constancia de ello sacando una obra de la Biblioteca de Babel antes de que me caduque el carnet.

Las tendencias que se convierten en imposiciones desde todos los frentes. La imposibilidad de relacionarse sin aprender nuevos lenguajes, palabras y significados que se actualizan constantemente y si no mereces el ostracismo absoluto. Eso ha sido 2017. Feliz año nuevo a todos. Señoras y señores, sin más preámbulos…

“GOODBYE, MOTHER”

“GOODBYE, MOTHER”

“GOODBYE, MOTHER”

Women’s issues are making strides in equal rights. Our voices are becoming more audible and are definitely resonating but there is a huge backlash to all this progress: The Femicide rates have increased globally.

I met Patricia Masera, a theatre performer from Paraguay, based in New York City, and working mainly in technical theatre on Broadway, in 2012 working on Hotel Project, in NYC. Since then we’ve been cooperating on different stages of our own work, until this year when our desires and goals met to create and produce “GOODBYE, MOTHER”.

“GOODBYE, MOTHER” is a new play about femicide that gives a voice not only to the women who can’t talk anymore but to the people who stay behind.

All these people and the human networks around them and the impact that every single femicide has on every single person. “GOODBYE, MOTHER” shows that the women killed are not numbers in a yearly list. We need to give them names and lives and people around. We need to see them as they are.

She was my friend. She was my mother. She was my sister. I was alive and loved. I was surrounded by family and friends and my killer. She was my mother and I left her there. I had a daughter, and a husband. I had a father and I left him alone with her. She was my favorite aunt and all I have are beautiful memories of her, she baked me lemon muffins. My aunt Marcia, she was 32.

The project has grown exponentially since its conception. Our initial phase involved research and interviews with key people in three cities: Asuncion, London, and New York City.

We are determined to get as much information as possible to hear the voices of the people around the victims and to catalyze them in one universal piece of work, that can be heard and understood regardless of origin.

After our research and development work, the writing phase started. We will soon start producing the work for its presentation in New York, London and Madrid.

Thousands of women are violently killed by their partners or family members, every year. A study published by the United Nations concludes that Femicide:
• Is difficult to eradicate
• It has significant prevalence in all regions
• Is important to monitor
• Needs future research work to better understand enablers/drivers and perpetrators.

“GOODBYE, MOTHER” focuses on the last point of the report that is, to my understanding, the only area in which art, and theatre in particular, can contribute, and it is our responsibility as artists to take on the task.

Picture: Patricia Masera by Tim Becker

“BREAKFAST AT DADDY’S” in NEW YORK!

“BREAKFAST AT DADDY’S” in NEW YORK!

“BREAKFAST AT DADDY’S” in NEW YORK!

Very proud to announce that my latest play “BREAKFAST AT DADDY’S” premiered in New York on November 5th. BREAKFAST AT DADDY’S is part of a show produced by Partly Cloudy People. This production seeks to end the stigma and the silence around abortion. Part of the proceeds will be donated to the historic Margaret Sanger Center of Planned Parenthood.

 

SYNOPSIS

“BREAKFAST AT DADDY’S” is about a girl and her father in his kitchen, waiting for it to be the time for her to go get an abortion, he supports her wholeheartedly, or so she thinks…

 

THE SHOW

Alongside “BREAKFAST AT DADDY’S” there will be other plays by Catherine L. Albers, Sarah Kinsey, Lizzie Vieh and Pirronne Yousefzadeh staged the same night.

“An interview-based show inspired by the true stories of women and their partners as they navigate the choices surrounding pregnancy. We are interested in the enormous crossroads women face when deciding to raise her baby, have an abortion or give the child up for adoption. We wonder: if we create a platform to share our stories, might we take comfort in each other and feel empowered to claim our decisions without fear of judgement? The results from our personal interviews will culminate in a full theatrical production to raise awareness and funds for a women’s health organization.”

 

CREDITS

Producers: Eva Gil, Sarah Kinsey, Sarah Nedwek.
Interviewers: Catherine L. Albers, Nikki Berger Martinez, Eva Gil, Sarah Kinsey, Sarah Nedwek, Robin Grace Thompson.
Playwrights: Beatriz Cabur, Catherine L. Albers, Sarah Kinsey, Lizzie Vieh, Pirronne Yousefzadeh.
Dramaturg: Lauren Miller.
Director: Jennifer Tuttle.

WHEN: November 5, 6, 12, and 13 @ 2pm
TICKETS: https://www.artful.ly/store/events/10120
WHERE: The PIT Loft. 154 W 29th St (b/t 6th & 7th). New York, NY 10001

More info:

http://www.thetheatretimes.com/the-seedling-project/
https://www.spainculture.us/city/new-york/breakfast-at-daddys/
http://www.partlycloudypeople.org/

Nefertiti & PIII

Nefertiti & PIII

Nefertiti & PIII

On October 8th, 2015, there was a staged reading of Beatriz’s latest play to date, “NEFERTITI & PIII” at the Sala Berlanga in Madrid. (more…)

365 Women A Year

365 Women A Year

365 Women A Year

On March 27th, 2015, at the Kubik Theatre in Madrid, there was a staged presentation of the Spanish Edition of 365 Women A Year introducing works by Beatriz Cabur, Inmaculada Alvear, Margarita Reiz, Yolanda Dorado, Inge Martín, Vanesa Sotelo, Denise Despeyroux and Diana Cristóbal (more…)

The Plane

The Plane

The Plane

I am very proud to present THE PLANE, an innovative theatre show I have written and directed.

THE PLANE is a theatre play specifically written to be performed through telepresence combining six different screens. There are five different teams of Actors and/or Stage Managers located in New York, London, Madrid, Barcelona and Milan from which we will stream both live and recorded video of different scenes of the play but from the audience’s point of view it will look like they are all passengers in the same flight.

Around the World Chain Play

Around the World Chain Play

Around the World Chain Play

NYCWTD presented “The Around-the-Globe Chain Play” at the Lark Play Development Center on Wednesday 27 March in honour of World Theatre Day 2013. Produced by Amanda Feldman, lead coordinator of the NYCWTD Coalition, the event featured 16 playwrights from across the world, including Beatriz Cabur.

Starting and ending in NYC, a play was written as it travelled around the world making 16 international stops with playwrights. Each playwright contributed the next one to three pages of text, moving the plot forward from where the previous playwright left off.

The playwrights are Dominique Morisseau (USA), Bekah Brunstetter (USA), Van Badham (Australia), Mixkaela Villalon (Philippines), Janice Poon (Hong Kong), Abdelrahem Alawji (Lebanon), Jeton Neziraj (Kosovo), John Freedman (Russia), Ulrike Syha (Germany), Enver Husicic (Netherlands), Zainabu Jallo(Nigeria), Beatriz Cabur (Spain), Sarah Grochala (UK), Sigtryggur Magnason (Iceland), Noe Morales Munoz (Mexico) and Caridad Svich (USA).

Doug Howe directed the play at the Lark Play Development Center.

InterTeatro Grand Finale

InterTeatro Grand Finale

InterTeatro Grand Finale

The amazingly innovative theatrical project Interteatro has been a hit!

NITE is proud to present “InterTeatro” – a project by Beatriz Cabur and the Cervantes Institute of Milan with the objective of internationally promoting contemporary Spanish drama. InterTeatro is a new form of theatre that, through the use of technology, combines traditional methods with new forms of communication. 

The plays that make up InterTeatro are a combination of different formats:

– A live, online broadcast of actors who are performing in another city.
– A pre-recorded video.
– A live performance on stage.

For the first edition of InterTeatro, eight texts were selected from four authors from different generations that represent a wide panorama of styles and ways of understanding the process and purpose of playwriting. The plays are:

THE COLLECTORS by Ignacio García May
R.I.P.me by Íñigo Ramírez de Haro
BLACK AGAINST WHITE by Íñigo Ramírez de Haro
HUMANITY IS UGLY by Íñigo Ramírez de Haro
WITHOUT A MOTIVE by Pablo Iglesias Simón
ALICE THROUGH THE LOOKING GLASS by Pablo Iglesias Simón
RONENSBOURGH by Beatriz Cabur
THE CHEF by Beatriz Cabur

InterTeatro is a project comprised of 46 people. We would like to highlight the job of film director Alex Rios who works alongside Beatriz Cabur researching and experimenting multiple new combinations of media in order to create ground-breaking shows.

The first edition of InterTeatro was performed on February 21st, February 28th and March 7th at the theatre of the Cervantes Institute in Milan and it was a great success, the audience that came to the first shows on February 28th were back the other two days of performances and they loved the whole series!

The Chef

The Chef

The Chef

In 2013 I wrote and directed ‘The Chef‘.

The Chef is auditioning for an opportunity to have his own cooking show on TV. It is up to one audience member to decide whether he passes the test. The Chef must accomplish an impossible task: in less than ten minutes, he must make the audience member taste their favourite meal, all the while being in different cities.

Title: The Chef / Playwright and Director: Beatriz Cabur / Actor: Pablo Lagartos / Video Designer: Alex Ríos / Programme Manager: Mirko Grewing /

Another production of The Chef by Beatriz Cabur has been performed by Toma Danila and directed by Ana Margineanu in New York and Edinburgh.

Ronensbourgh in Italy

Ronensbourgh in Italy

Ronensbourgh in Italy

In 2013 I directed my play ‘Ronensbourgh‘ to be performed in Milán.

The Heibers are a regular family in an irregular situation. They live in a decadent world ruled by a system that no longer works. Meanwhile a group of aristocrats, ruled by Helmut Ronen, are creating the perfect city as an answer to all of society’s problems.Ronensbourgh is finally built and it works because it has a new language and form of communication that does not contemplate violence – but if you want to move to Ronensbourgh get ready to be lobotomized.

Title: Ronensbourgh / Playwright and Director: Beatriz Cabur / Actors: Jorge Andolz, Yolanda Blanco, Pablo Lagartos, Diego Lagartos, Alberto Esparza, Lorena Sierra, Andrea Pueyo, Ester Piñero / Video Designer and co-Director: Alex Ríos / Assistant Director: Isabel Morilla / Programme Management:Mirko Grewing / Premiere date: February 21st, 2013.

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