{"id":12020,"date":"2023-10-13T14:08:00","date_gmt":"2023-10-13T12:08:00","guid":{"rendered":"https:\/\/assitej.es\/beta2\/?post_type=proyectos_assitej&#038;p=12020"},"modified":"2025-02-06T17:33:52","modified_gmt":"2025-02-06T16:33:52","slug":"iii-jornadas-de-dramaturgia-para-la-infancia-y-la-juventud","status":"publish","type":"proyectos_assitej","link":"https:\/\/assitej.culturaescenica.es\/en\/proyectos_assitej\/iii-jornadas-de-dramaturgia-para-la-infancia-y-la-juventud\/","title":{"rendered":"Days of dramaturgy"},"content":{"rendered":"<h2 class=\"wp-block-heading\">The 3rd Conference on Drama for Children and Youth is established as a reference space to defend children&#039;s right of access to art<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" class=\"lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/Imatges-noticies-web-1000-%C3%97-575-px-25.png\" alt=\"\"\/><noscript><img decoding=\"async\" class=\"lazyload\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/Imatges-noticies-web-1000-%C3%97-575-px-25.png\" alt=\"\"\/><\/noscript><\/figure>\n\n\n\n<p>He <strong>National Drama Centre of Madrid&nbsp;<\/strong>hosted the celebration of the&nbsp;<strong>Third edition of the Days of Drama for Children and Youth<\/strong>. A quote that represents the<strong>&nbsp;consolidation of this competition as a reference space to defend the right of access to art for children and youth and their importance as an audience in need of high-quality artistic proposals<\/strong>.<\/p>\n\n\n\n<p>The Conferences,&nbsp;<strong>Organized jointly by three entities: ASSITEJ Spain, Unima and the TTP<\/strong>, offered a&nbsp;<strong>ambitious program that aimed to deepen the fundamentals of dramaturgy for young people, girls and boys.&nbsp;<\/strong><\/p>\n\n\n\n<p>The final result has been&nbsp;<strong>Four days of conferences and workshops with specialists and professionals from the sector who have created spaces for debate, analysis and reflection with a single primary mission: to place the figure of children and young people at the centre<\/strong>.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>Taller de escritura teatral con Blanca Felipe Rivero<\/strong><\/h4>\n\n\n\n<p><strong>Blanca Felipe Rivero<\/strong>, originally from Havana, is a playwright and screenwriter. Author of Romeo and Juliana -among many others-,&nbsp;<em>\u201ca guajira version of Romeo and Juliet\u201d&nbsp;<\/em>As she herself indicates, the author repeatedly asks herself whether&nbsp;<strong>What we know or what we are looking for is more important&nbsp;<\/strong>and ensures that&nbsp;<em><strong>\u201csharing is a great source of learning.\u201d&nbsp;<\/strong><\/em><\/p>\n\n\n\n<p>Within the framework of the conferences, the workshop was offered<em><strong>\u201cI am\u201d of the character and the mother image in writing explorations for childhood<\/strong>.&nbsp;<\/em>A space where work was done from the&nbsp;<strong>exploration&nbsp;<\/strong>and it became clear that the most important thing in the text is&nbsp;<strong>the character<\/strong>&nbsp;and the most important thing about the scene,&nbsp;<strong>the actor<\/strong>. At the same time it was claimed that<strong>&nbsp;It&#039;s not all about making great texts, since sometimes the most mundane things can become the greatest.<\/strong><\/p>\n\n\n\n<p>Starting from the question, Where do we write from?, we tried to give voice and presence to childhood in writing exercises based on the random chains of actions and sensory explorations.<\/p>\n\n\n\n<p><strong>Testimonies of the participants<\/strong>&nbsp;After finishing the workshop, they leave without a doubt that it has been a very enriching experience:<\/p>\n\n\n\n<p><em><strong>\u201cIt has been an eye-opening experience, especially being able to see the diverse creative processes of each one,\u201d<\/strong><\/em>&nbsp;Lucia commented.<\/p>\n\n\n\n<p><strong><em>\u201cBlanca has a great passion for pushing\u201d<\/em>&nbsp;<\/strong>Mercedes explained excitedly&nbsp;<em><strong>\u201cThank you for this trip.\u201d&nbsp;<\/strong><\/em><\/p>\n\n\n\n<p><em><strong>\u201cIt has been a very interesting and exciting process. I only have words of gratitude. How nice it is to write in company and with honesty!\u201d<\/strong><\/em>&nbsp;Txema pointed out.<\/p>\n\n\n\n<p><em>\u201c<\/em><strong><em>We have shared many emotions\u201d<\/em>&nbsp;<\/strong>Nieves sentenced.&nbsp;<em>\u201c<strong>Blanca cares for and cherishes the word, she has come with simplicity and humility. We have discovered that we are not who we thought we were. Thank you for helping me to know who I am.\u201d<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-7.jpeg\" alt=\"\" class=\"wp-image-19034 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-7.jpeg\" alt=\"\" class=\"wp-image-19034 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>Taller el objeto en escena y su esencia dram\u00e1tica<\/strong><\/h4>\n\n\n\n<p><strong>With the help of TOPIC, the Tolosa International Puppet Centre, Juanjo Herrero led this practical proposal<\/strong>&nbsp;for professionals belonging to various areas of the Performing Arts, delving into the dramaturgy of Object and Puppet Theatre. A space that aimed to<strong>&nbsp;analyze and put into practice different examples of professional companies that use various manipulation techniques to construct new forms of theatrical and visual dramaturgy.&nbsp;<\/strong>The work was done&nbsp;<strong>puppet manipulation&nbsp;<\/strong>as well as the manipulation of objects, paying special attention to the body, the arrangement of the puppet\/object and the relationship of both in the scene.<\/p>\n\n\n\n<p><em>\u201c<strong>We have reflected on the value and possibilities of the object. Guided by Juanjo and Estitxu, a heterogeneous group of students from the most diverse performing arts disciplines, we have discovered a whole world hidden behind the object. The work has been intense, very practical and enriching and I think that all the participants have left with an immense number of concepts, ideas and questions that we can incorporate into our creative universe.\u201d&nbsp;<\/strong><\/em>said Joan Alfred, one of the workshop participants.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-8.jpeg\" alt=\"\" class=\"wp-image-19038 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-8.jpeg\" alt=\"\" class=\"wp-image-19038 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Roundtables for debate and reflection<\/strong><\/h2>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>La dramaturgia para la infancia y la juventud&nbsp;<\/strong><\/h4>\n\n\n\n<p>With the participation of<strong>&nbsp;Itziar Pascual, Luis Fernando de Juli\u00e1n, Nieves Rodr\u00edguez and Carlos Labra\u00f1a&nbsp;<\/strong>This was a space for dialogue that revolved around the<strong>&nbsp;strategies for thinking about the future of drama for children and youth.&nbsp;<\/strong><\/p>\n\n\n\n<p>During the discussion table it became evident that there is a basic problem, a&nbsp;<strong>radical deficit of access to culture for children&nbsp;<\/strong>that needs to be eradicated, generating&nbsp;<strong>collaborative spaces<\/strong>&nbsp;and synergy. Likewise, different ideas were also shared, among which we can find the need to understand the&nbsp;<strong>theatre as a tool to generate community, the vindication of the theatrical book as a manifesto of democratic culture or the defence of the right to feel.&nbsp;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29.jpeg\" alt=\"\" class=\"wp-image-19006 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29.jpeg\" alt=\"\" class=\"wp-image-19006 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>Adultocentrismo y educaci\u00f3n en valores.<\/strong><\/h4>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Censorship, self-censorship and taboos in drama for children and youth<\/strong><\/h5>\n\n\n\n<p><strong>Jose Luis Arellano, Jordi Palet, Ramon Molins, The Patio Theatre and Jose Troncoso&nbsp;<\/strong>were the speakers at this panel that reflected on the&nbsp;<strong>what authors look for when they want to address this audience and what the audience expects when they approach a play that is supposedly aimed at their age.<\/strong><\/p>\n\n\n\n<p><em>\u201cI don\u2019t put on shows for children to understand, but for them to enjoy\u201d<\/em>,&nbsp;<em>\u201cMany times we get to the end and the first and most important thing is that what we are talking about matters to us, and then that you bring a large dose of honesty to it\u201d<\/em>&nbsp;or the vindication of the need for generational closeness were some of the ideas that were shared during the conversation.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-1.jpeg\" alt=\"\" class=\"wp-image-19010 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-1.jpeg\" alt=\"\" class=\"wp-image-19010 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>Otras textualidades para la infancia y la juventud: Dramaturgia masmedia; radio teatro; nuevos lenguajes tecnol\u00f3gicos, etc.&nbsp;<\/strong><\/h4>\n\n\n\n<p><strong>Lorenzo Soto and Raul Guirdi<\/strong>&nbsp;They shared this discussion table where they talked about the&nbsp;<strong>creative process for a young audience, highlighting the concept of creativity and showing that for a work of art to have meaning, it must always contain truth.&nbsp;<\/strong><\/p>\n\n\n\n<p>During the dialogue some ideas of concepts such as<strong>&nbsp;entertainment and immediacy<\/strong>:&nbsp;<em>\u201cWhen I talk to teenagers, I see that entertainment for them means finding something that doesn&#039;t make them think, my generation wasn&#039;t like that.\u201d<\/em>.&nbsp;<em>\u201cYoung people are used to immediacy, attention is biased, if you don&#039;t divide up what you are offering them, continuity is complicated for them,\u201d&nbsp;<\/em>Guirdi stated.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-3.jpeg\" alt=\"\" class=\"wp-image-19018 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-3.jpeg\" alt=\"\" class=\"wp-image-19018 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>La edici\u00f3n y la difusi\u00f3n de la dramaturgia para la infancia y la juventud. Traducci\u00f3n, difusi\u00f3n y comercializaci\u00f3n<\/strong><\/h4>\n\n\n\n<p><strong>Carlos Gil, Daniel Ramirez and Gonzalo Moreno<\/strong>&nbsp;participated in this discussion panel where they presented&nbsp;<strong>different editorial projects&nbsp;<\/strong>and they were shared&nbsp;<strong>dissemination strategies, possibilities for internationalization, collaboration and exchange<\/strong>. The discussion focused on the evolution of children&#039;s theatre and on the natural tendency of boys and girls to interpret and create stories.<\/p>\n\n\n\n<p>Among the projects presented, the following stands out:&nbsp;<strong>\u201cTheatrical Context\u201d&nbsp;<\/strong>an initiative to disseminate and make visible the arts of now<strong>, \u201cArtezblai\u201d<\/strong>&nbsp;the newspaper of the Performing Arts and the&nbsp;<strong>\u201cYorick Bookstore\u201d<\/strong>&nbsp;specialized in performing arts with books on theater and dance, among others.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-4.jpeg\" alt=\"\" class=\"wp-image-19022 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-4.jpeg\" alt=\"\" class=\"wp-image-19022 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>La dramaturgia para infancia y juventud en el \u00e1mbito internacional&nbsp;<\/strong><\/h4>\n\n\n\n<p>On this occasion the discussion table had the participation of&nbsp;<strong>Sophie Merceron, France, Blanca Felipe, Cuba, Luc\u00eda de la Maza, Chile, and Lola Fern\u00e1ndez, Madrid, who took a closer look at international dramaturgy by describing the situation in their respective countries of origin.&nbsp;<\/strong><\/p>\n\n\n\n<p>We discovered that the&nbsp;<strong>cuban theater&nbsp;<\/strong>It is very artisanal&nbsp;<strong>\u201cit has that taste of closeness\u201d&nbsp;<\/strong>Blanca explained that&nbsp;<strong>In France, youth theatre is present in theatres, but it still has problems entering large venues\u201d<\/strong>&nbsp;Sophie shared and that&nbsp;<strong>In Chile, \u201ctheater for children and youth has made its way, but plays travel a lot outside the country<\/strong>\u201cInternationalization has grown a lot,\u201d said Luc\u00eda.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-5.jpeg\" alt=\"\" class=\"wp-image-19026 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-5.jpeg\" alt=\"\" class=\"wp-image-19026 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>La literatura teatral en las distintas lenguas y territorios del estado<\/strong><\/h4>\n\n\n\n<p><strong>Sonia Alejo, Paula Carballeira, Aizpea Goenaga, S\u00edlvia Navarro and Abigail Ballester discussed creation in different languages, coordination and promotion and dissemination policies.<\/strong>&nbsp;During the course of the discussion table, a plan was developed&nbsp;<strong>map of dramatic creation&nbsp;<\/strong>for children and youth in Spain and different ideas were put on the table such as&nbsp;<em>\u201cLet language not be an obstacle, but rather an added enrichment\u201d<\/em>&nbsp;or what&nbsp;<em>&quot;The precarious nature of companies means that they cannot rely on a professional translator.&quot;<\/em><\/p>\n\n\n\n<p>During the conversation it was also claimed that&nbsp;<em>recognize \u201cthe enjoyment of reading theater\u201d<\/em>&nbsp;and the task of translation was discussed in depth:<em>&nbsp;\u201cThe work of translation is to go through the work again, to make sure it has the same rhythms, the same nuances.\u201d<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-6.jpeg\" alt=\"\" class=\"wp-image-19030 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-6.jpeg\" alt=\"\" class=\"wp-image-19030 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Conference<\/strong><\/h2>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>El reto de la escritura desde la pr\u00e1ctica art\u00edstica de m\u00faltiples espacios legitimados o no del teatro para y con ni\u00f1os en Cuba<\/strong><\/h4>\n\n\n\n<p><strong>White Philip<\/strong>&nbsp;has focused on the experience of writing from the stage, from the everyday core of artistic practice in professional and amateur groups, together with teaching work: working with students, actors, puppeteers, art instructors, children and other tasks on stage. Also, feedback from audiences, the exercise of judgment and work as a playwright.<\/p>\n\n\n\n<p><strong>Defining herself as a \u201ccreative subject\u201d&nbsp;<\/strong>White, who<strong>&nbsp;has always been linked to cultural associations<\/strong>, shared in this conference that her experience as a playwright has led her to&nbsp;<strong>understand that not everything works for everyone<\/strong>, but there is a great importance of the contexts. The playwright also wanted to point out that &quot;we have a&nbsp;<strong>pending task on audience perception<\/strong>\u201d and has shown its&nbsp;<strong>immense gratitude because through her work she has the opportunity to tell the boys and girls \u201cI believe in you.\u201d&nbsp;<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-10.jpeg\" alt=\"\" class=\"wp-image-19042 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-08.55.29-10.jpeg\" alt=\"\" class=\"wp-image-19042 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>XXIII SGAE Children&#039;s Theater Award 2022<\/strong><\/h2>\n\n\n\n<p>Within the framework of the Conference, the awarding of the&nbsp;<strong>XXIII SGAE Children&#039;s Theater Award<\/strong>&nbsp;<strong>2022<\/strong>&nbsp;for&nbsp;<em>Mambr\u00fa returned from war<\/em>, a work by the Galician playwright&nbsp;<strong>Carlos Labra\u00f1a Barrero&nbsp;<\/strong>(Cedeira-A Coru\u00f1a, 1969). Who addressed the audience to share that&nbsp;<em>\u201cI write in Galician and the fact that the prize was awarded in Galician for the first time, I think, is extremely important for normalisation and coexistence.\u201d&nbsp;<\/em>Labra\u00f1a also thanked the holding of the Conference&nbsp;<em>\u201cIt is a great way to connect all of us who are linked to this field.\u201d<\/em><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-12.18.27-1024x782.jpeg\" alt=\"\" class=\"wp-image-19054 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-12.18.27-1024x782.jpeg\" alt=\"\" class=\"wp-image-19054 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Project presentation<\/strong><\/h2>\n\n\n\n<p>The Conference included a&nbsp;<strong>exhibition and exchange space where different people shared their latest projects.<\/strong>&nbsp;Among the projects presented, the following stand out:<em>&nbsp;\u201c<strong>Pepito (a life story for children and grandparents)\u201d, \u201cINVENT, INVENTORY, INVENTURE\u201d, \u201cOne day I was a watermelon\u201d and \u201cWhite Paradise\u201d.&nbsp;<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-12.15.05-768x1024.jpeg\" alt=\"\" class=\"wp-image-19046 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-12.15.05-768x1024.jpeg\" alt=\"\" class=\"wp-image-19046 lazyload\"\/><\/noscript><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Show<\/strong><\/h2>\n\n\n\n<h4 class=\"wp-block-heading\" data-no-auto-translation=\"\"><strong>Los columpios<\/strong><\/h4>\n\n\n\n<p><em>Los columpios<\/em>&nbsp;It is the result of a process of listening, games and interviews with new dramatists who are, without a doubt, the future.&nbsp;<strong>Written and directed by Jos\u00e9 Troncoso \u201cLos columpios\u201d is a show that takes the audience to the last day of school where the \u201cfuture elders\u201d&nbsp;<\/strong>They are preparing to sing in front of their families to bid farewell to the school year, accompanied by Miss Mariv\u00ed.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-12.15.09-1024x768.jpeg\" alt=\"\" class=\"wp-image-19050 lazyload\"\/><noscript><img decoding=\"async\" src=\"https:\/\/ttp.cat\/wp-content\/uploads\/2022\/12\/WhatsApp-Image-2022-12-09-at-12.15.09-1024x768.jpeg\" alt=\"\" class=\"wp-image-19050 lazyload\"\/><\/noscript><\/figure>","protected":false},"excerpt":{"rendered":"<p>The National Dramatic Centre in Madrid hosted the third edition of the Days of Drama for Children and Youth. An event that represents the consolidation of this competition as a reference space to defend the right of access to art for children and youth and their importance as an audience in need of high-quality artistic proposals.<\/p>","protected":false},"author":999,"featured_media":12022,"template":"","meta":{"_acf_changed":false,"_links_to":"","_links_to_target":""},"tags":[],"tipo_proyecto_assitej":[2554],"class_list":["post-12020","proyectos_assitej","type-proyectos_assitej","status-publish","has-post-thumbnail","hentry","tipo_proyecto_assitej-dramaturgia","infinite-scroll-item","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-33"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.1.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jornadas de dramaturgia - ASSITEJ Espa\u00f1a<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/assitej.culturaescenica.es\/en\/proyectos_assitej\/iii-jornadas-de-dramaturgia-para-la-infancia-y-la-juventud\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jornadas de dramaturgia - ASSITEJ Espa\u00f1a\" \/>\n<meta property=\"og:description\" content=\"El Centro Dram\u00e1tico Nacional de Madrid\u00a0acogi\u00f3 la celebraci\u00f3n de la\u00a0tercera edici\u00f3n de las Jornadas de dramaturgia para la infancia y la juventud. 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