From 8 from February to 31 on May of 2021

With the desire to offer the highest level in terms of professionalism and pedagogy, theEscuela Superior de Arte Dramático Eolia Barcelona organizes online courses dramaturgy, direction and screenplay aimed at a wide audience and dispersed by geography Catalan, Spanish and Latin American. The courses offer a multidisciplinary view of stage creation and screenwriting. The teachers who teach them are backed by a long experience in their field of creation and in the field of pedagogy.

1) ADDRESS: realization of a staging project (theory and practice). Prof. Josep Galindo

2) DRAMA: realization of a stage project (theory and practice). Prof. Pablo Ley

3) ANALYSIS OF THE STAGE LANGUAGES: (theory and practice). Prof. Carolina Llacher

4) DRAMATIC WRITING: elaboration of a dramatic text. Prof. Carles Mallol

5) FILM SCREENPLAY: elaboration of a cinematographic script. Prof. Antonio Garrido

6) POSTDRAMATIC THEATER: creation and latest stage trends. Prof. Roberto Fratini

Number of school hours 45 h.

The subjects consist of 15 sessions of 3 hours divided into two parts:

  • 1h 20 min intended for the exhibition of theoretical and practical contents
  • 15 minutes rest recommended
  • 1h 25 min of group tutorials in which the works of the students will be commented (al
    throughout the course each student will have a minimum of 90 minutes to comment on their project).

Finished the course and in case the student wishes to prolong the advice to continue profiling the
their projects until they are completed with any of the teachers, the possibility of tutorials is offered
individuals (whose costs, however, are not considered integrated into the cost of the course).

Class period: from 8 from February to 28 in May of 2021

1. DIRECTION: realization of a staging project (theory and practice).
Prof. Josep Galindo
Wednesday 17 pm-20pm

The course addresses the main theoretical and practical contents of stage thinking and aims to carry out a staging project that takes from the analysis of the dramatic text (or film script) to the rehearsal room ( or filming).

1. The work sequence. The subject
2. Aesthetics of the stage score
3. Organizational axes of the space
4. Stage languages ​​1: music and projections
5. Stage languages ​​2: light and costumes
6. Stage languages ​​3: movement and sound
7. Audience, energy and meaning blocks
8. The lines of analysis: creative approach to management
9. Lines of analysis A
10. Lines of analysis B
11. Lines of analysis C
12. Releasing the actor / actress in the scene
13. Character construction
14. The creative identity
15. The end

2. DRAMATURGY: realization of a stage project (theory and practice).
Prof. Pablo Ley
Tuesday 17 pm-20pm

The subject raises the process of creation from the appearance of the initial idea to the moment of starting to write the text (or elaborate the stage script in case of non-textual theater). It’s about asking yourself the fundamental questions: What do I want to write about? How do you start thinking about the characters? What should the place of action look like? How do I handle conflicts? Need to start visualizing the staging from the beginning?

1. Dramaturgy. The art of generating complex structures
2. The variety of codes involved
3. An approach to the viewer (true synthesizer of sensory, emotional, narrative and conceptual stimuli)
4. The theme as the backbone of all drama
5. The concept of dramatic materials and their diversity. The aim of dramatic research
6. Sensory, experiential, emotional materials. The subject's relationship with the world
7. Techniques for collecting materials. Consistency, verisimilitude, originality. Research phases. The limit of the collection of materials
8. The deployment of structures. The development of the topic in sub-theme structures
9. Narrative and non-narrative structures. The construction of the character / performer
10. The generation of space (spaces as modifiers of meaning)
11. An art that happens over time. The construction of linear and nonlinear temporalities
12. The concept of energy as a modulator of tension and public attention
13. Textual dramaturgy. The path to dramatic text
14. The stage dramaturgy. The work of the director, the management team, the performers
15. Conclusion of the dramaturgical project carried out

3. ANALYSIS OF THE STAGE LANGUAGES (theory and practice).
Prof. Carolina Llacher
Thursday 17 pm-20pm

The scenic fact brings together a wide diversity of languages ​​that have a history of their own and that articulate with each other so that they all interact with each other to build a single stage piece. Being aware of the richness of possibilities in the interaction of these languages ​​(for both playwrights and directors) is one of the most important aspects when creating a theatrical show.

PART 1 - Conceptual analysis

1. Theater as a paradigm of the world I: introduction to the theory of communication
2. Theater as a paradigm of the world II: introduction to stage languages ​​as articulators of meaning
3. The scene as a laboratory: the relational experience
4. The What and the How: the two dimensions of the construction of the scenic sense
5. Sign and code: the particles of the articulated sense in the scene

PART 2 - Practical analysis

6. The character: semiotic approach to its function
7. The actor and his semiotic fields
8. The scenic space: first vector where to encase the sense (I)
9. The scenic space: first vector where to encase the sense (II)
10. The stage time: second vector where to embody the sense
11. Stage lighting
12. Sound design on stage
13. Clothing and characterization
14. Practical analysis of the staging (I)
15. Practical analysis of staging (II)

4. DRAMATIC WRITING: elaboration of a dramatic text.
Prof. Carles Mallol
Friday 17 pm-20pm

The subject raises the question of writing a play performing all the necessary steps from the first approaches to the completion of the finished play. The aim is for the student to finish the course with a theatrical text finished or in the process of being so (the elaboration of the text depends on the time invested by the student throughout the course).


1. The genesis of the text. Fictional universes beyond genres. Friction as the basis of any creation
2. Conflict as an engine of stories
3. The characters. A character's bow and its turning points. The character as the backbone of the plots. Character Psychology Vs. action
4. The language. The language of the characters vs. the language of the piece. The monologues
5. The dialogues. Development of the typologies of conflict

6. The ingredients on the front pages. Analysis and concretion of those elements that will serve to start up the piece of each student


7. The structure. Analysis of classical structures in the history of dramatic literature
8. The weather
9. Analysis of non-classical structures

10. The scheme of the work. Specification of a possible scale of the text of each of the students


11. Other elements beyond the written word: space, visual and sound elements. Various notions of staging to consider during writing
12. The public. Who do we write for? For which theater? How is it clear in our text? The boundaries
13. The endings of a text. What causes our writing in the viewer? The theater politician. Theater entertainment. Is writing a profession?

14. What is left of the initial approach of our piece? Revision of the texts
15. The importance of rewriting. The constantly evolving text until (and during) the essays

5. CINEMATOGRAPHIC SCREENPLAY: elaboration of a cinematographic script.
Prof. Antonio Garrido
Monday 17 pm-20pm

Writing a screenplay has its own specifics that are essential to know. This course emphasizes the technical aspects without forgetting the creative ones, thinking especially of students with knowledge of literary and dramatic writing who want to expand their professional field. The goal is to create a screenplay.

1. The cinematographic story: differences between novel, theater and cinema. Film genres
2. Creative process I: topic, thesis, premise —logline—
3. Creative process II: idea —storyline—, argument —characters, motivation, action and goal—
4. Creative Process III: character construction, relationships between characters
5. The paradigm of Syd Field: narrative map, classical structure divided into three acts
6. Definition and function of the key points of the paradigm: detonating, first turning point, midpoint, second turning point
7. Climax: climax of dramatic action
8. Another type of narrative construction: The Hero’s Journey, Blake Snyder’s timesheet
9. Lines of action: main plot and secondary plots
10. Style, tone, rhythm, narrative resources and types of scenes
11. Construction of the ladder: first step prior to the script
12. Construction of the treatment without dialogues: second step prior to the script
13. The dialogue, final touch of the scenes
14. The construction of the film script: rules, format, tools and narrative elements
15. Sales tools: bible, sales dossier, mood trailer, pitch

6. POSTDRAMATIC THEATER: creation and latest stage trends
Prof. Roberto Fratini
Monday 17 pm-20pm

The theater of the twentieth century, following the path of the international avant-garde, has diversified its ways of approaching the theatrical fact. This course raises the possibility of orienting the student in the path of non-dramatic dramaturgies following the main lines of research of today's theater. The goal is to create an unconventional drama project.

1. Expanded and silent dramaturgies. Paradigmatic models vs. syntagmatic models. Part I
2. Expanded and silent dramaturgies. Paradigmatic models vs. syntagmatic models. Part II
3. The Tanztheater and the Traumarbeit
4. Beyond adaptation: models of incarnation and models of metamorphosis
5. The notion of device. The dramaturgy between play and programming
6. Image theater and forms of stage allegory. Part I
7. Image theater and forms of stage allegory. Part II
8. Assembly of attractions and new hybrid dramaturgies (Magie Nouvelle, Circus, Cabaret)
9. Performance writings. Part I
10. Performance Writings. Part II
11. Document theater
12. The participatory show. Part I
13. The participatory show. Part II
14. Dramaturgy and cultural programming
15. Dramaturgies of the telepresence

In order for the student to get an idea of ​​the time it will take to develop each subject, it is necessary to keep in mind that it is considered that the volume of autonomous work (that is, regardless of the time occupied by the classes) is equivalent to that of the teaching hours (always bearing in mind that any additional time spent by the student will always result in the improvement of learning outcomes).

So for each subject it means a minimum hourly investment of:

3 teaching hours + 3 hours of weekly self-employment
(preferably more whenever possible)

The subjects can be taken completely independently, according to the interests of the students. And the number of subjects chosen by the student, until completing the entire course, depends on both the time available and their ability to work.

However, we believe that some routes (of two or three subjects) that have a greater impact on Stage Direction, Textual Dramaturgy, Staging or the Film Script may be useful.


1. Direction

2. Dramaturgy

3. An. language. esc.

4. Escrip. dramatic.

5. Movie script.

6. Teat. postdram.






1. Direction

2. Dramaturgy

3. An. language. esc.

4. Escrip. dramatic.

5. Movie script.

6. Teat. postdram.











roberto-fratini-webRoberto Fratini CVJosep Galindo CV
Image by Antonio Garrido GarcíaAntonio Garrido CVPablo Ley CV
Carolina Llacher CVCarles Mallol CV

1 subject: 450 €

2 subjects: € 850

3 subjects: € 1.200

4 subjects: € 1.560

5 subjects: € 1.900