Pilot project in Seville

Sevilla NICeR Workshops – TARARIQUETEVI Theater Company

General Overview

The Seville’s Pilot Workshop ran at the beginning of the year with a picnic gathering, in a local park to get to know each other. Since then, around 15 migrants and refugees, and around 10 local inhabitants are attending the workshops. The workshops are taking place Tuesdays –On theater- and Thursdays –on singing and vocal abilities-. These activities are being complemented

Although we have participants from many different places all across the world – Middle East, Far East, Latin America or Eastern Europe- the majority of the participants has Latin American Background.

The objective of the Pilot Workshop is to play a performance the 11th of May 2017. In this performance, participants will collaborate in the design, technical issues such as make-up, electric and sound engineering, and background and perform the play itself.


The staff is composed by two professional actors and a coordinator with long experience in integration activities in the fields of scenic arts:

Maria Crespo, Workshop Coordinator


  • Master in Behavioral Therapy (2003) – UNED
  • Degree in Psychology (1991) – University of Seville
  • Degree in Pedagogy (1980) – University of Seville 
  • Diploma in Language and Hearing (1986) – University of Seville

Main subjects or occupational skills

  • General knowledge: Spanish Language, Linguistics, Phonetics, Phonology, Acquisition of Oral and Written Language, Physiology of Hearing and Language, Sign Language, Aphasias, Pedagogy, Didactics, Psychology, Behavioral Therapy.
  • Professional knowledge: Language, Language and Hearing Therapy; Pedagogy and Didactics Applied to Language, Language and Hearing Therapy; Psychology Applied to Language, Language and Hearing Therapy.

Social skills and competences

  • Adaptability to multicultural environments through my professional experience with immigrant students and my personal experience of residing abroad, belonging to an NGO that puts people in contact around the world and my collaboration with NGOs working with immigrants.
  • Capacity for teamwork.
  • Communication skills for my long professional experience as a teacher of all levels.
  • High empathy for my training, my professional experience as Logopeda, Teacher, Counselor and Clinical Psychologist, my collaboration with several NGOs of a humanitarian nature and my own personality.

Organizational skills and competences

  • Leadership skills for my training, my professional experience, my hobbies (Director of a group of amateur theater), my family status (older siblings, cousins, children of friends of my parents …) and my own personality.
  • Doing organization and planning for the same reasons.
  • Group and team management experience through my professional experience as Professor and Head of Department (experience of 16 years) and my hobbies (Group Coordinator in several NGOs).

Technical skills and competences

  • Typing for having completed all the works of my machine studies since the age of 13 years.
  • Administrative duties (writing of reports, instances and letters, use of databases, maintenance of files …) from my experience as an Employee and Public Administration.
  • Use of new technologies (computers, digital whiteboards …) for my professional experience and my personal tastes.

Paco G. Melero, Acting

Best newcoming actor award Yorick 2005 MuestraG best performance award 2015. Best director award F.T.P. Villa de Burguillos 2015.

Degree in Textual interpretation at the ESAD in Cordoba (Spain). Also studied at the Scuola Internacionale Dell’Attore Comico, de Antonio Fava. (Italia). Acting in the following companies: Pecato Veniale, Los Miércoles, y “ñ”-Teatro protagoniza: “La secreta obscenidad de cada día”, “Divinas Palabras”, “Las primeras veces”, “No hay burlas con el amor”, “La comedia sin título”, “Miles Gloriosus”, etc. III andalusian actors and directors meeting with Julio Fraga, actor en “A solas con mojoncete”. Main role with Las Brujas events, “Circo de Pulgas” , Cia. BricABrac, “¿Y ahora qué?”, y Cía. Farandulario Teatro, Adosado en la Acera”.

Desirée Manzano, Singing

National award on best feminine main performer. Contest of Yecla Theater. 2014.

Degree in Scenic Arts byt the ESAD at Cordoba. Degree in singing by Conservatorio Sup. de Música de Sevilla. She also studied at Scuola Internazionale Dell’Attore Comico Antonio Fava. Main Roles with: Cía. El Mercado, en “El Hada de Abú Ghraib”; Cía Thalia-teatro, en “Sharaija murió con trece años”; Actriz de reaparto con Cía. La Fura dels Baus, en Inauguración de CITE; Cía. Chalana-Cor, “La Casa de Bernarda Alba”. III encuentro de Actores y Directores de Andalucía con Julio Fraga, “A solas con mojoncete”. Cía. Farandulario Teatro. Main performer at “Adosado en la Acera” y “Cuentos de la Media Lunita”. Actriz reparto en la serie de Canal Sur “Arrayán”.

Training Objectives

The particular objectives of the workshops are:

Interpretation Workshop: Methodology

Acting techniques to be used:

  • Gestural theatre
  • Musical theatre
  • Textual theatre
  • Shadow theatre

Development of the sessions:

  • Initial exercise: desinhibition (30 participants)
  • Specific work ( 2 groups of 15 participants):
    • Exercises: relaxation, concentration, body expression and improvisation
    • Work aimed to the representation of the final performance. Central theme “Identities”:
      • Beginning of the process through the mutual listening, participation and expression for the group of each of the different identities.
      • Individual expression of identities worked through a common object that will symbolize a request for help. The aim is to give the opportunity to each person to express his own personal, social, cultural and national (home country) identity.
      • Development between all the participants of a new object and an iconography which will represent the interconnection of all the different identities (interculturality and mutual help). The aim is to develop an iconography that will become a symbol of stability for the participants (participants and place where they live). The object will play the role of a meeting point for all the different identities (participants and place where they come from).
      • Developmentof different scenographies built through the body expression and gestural resources of the participants.
      • Unification of the two scenograhies on stage to prepare the final performance. (30 participants).


  • Rhythm and/or songs:
    • As a “leitmotiv” for the scenic changes (point of connection).
    • As a representation of each of the identities at different moments of the performance (point of affirmation of each individual identity).
  • Language:
    • That of the country where the sessions are taking place as means of communication during the sessions. (to foster its learning).
    • In the final performance, each participant will express himself in his mother language.
  • Daily press. In particular all the news directly related to the situation of the participants to comment about them, develop scenes, do expression work, etc.

Music And singing workshops: Methodology


  • Development of the rhythmical sense.
  • Coordination of the group work.
  • Foster interpersonal communication.
  • Put into relation gesture and body movement as a preparatory activity for any musical performance.
  • Wake awareness, in a playful and enjoyable way, of our own senses, thoughts, attitudes and imagination, and in this way feel good, balanced, relaxed, peaceful, free and confident.


  • Basic studies of vocal technique.
  • Resonance, diction, articulation.
  • Breathing.
  • Postural disorders and their consequences in daily life and on stage.
  • Singing as energy of emotional control.
  • Technics for the production of different sounds with our body.
  • Desinhibition and naturalness of movement, body expression and singing.

Development of the sessions:

  • Vocal training.
  • Reading.
  • Development of rhythms.
  • Putting together the above skills.
  • Improvisations.


  • Rhythms and /or popular songs from the countries of origin of the participants.
  • Well known rhythms and /or popular songs for all the participants(point of connection).
  • Language:
    • The one of the country in which the sessions are taking place as a means to strengthen its learning.
    • For the songs, it will be used the mother language of each of the participants.

The workshops so far are going well and the participants are acquiring the skills and abilities to the foreseen pace.


Tamara Hodas, EU@juventudycultura.org
Juan Antonio Pavón, info@juventudycultura.org