History

Carlos’ research was initiated in 1998, when theatre pedagogue Jacques Lecoq provoked him to explore the tragic depth in Commedia dell’Arte and mask performance. During his time with Lecoq, Carlos encountered in Italy the work and influence of Dario Fo and mask sculptor Donato Sartori. In 2003 Carlos became Sartori´s pedagogical assistant and collaborator. By the hand of Sartori he began to explore the architecture of gestures and the anthropology of the mask. There, he became specialized in the dramaturgy and acting technique of Contemporary Commedia dell´Arte. 

The influence of Lecoq - Fo - Sartori and his own socio-cultural studies pushed Carlos to create theInternational Laboratory of Theatre Research - Manifesto Poetico, hosting his research, performances and productions. With Manifesto Poetico Carlos started a consolidation of his own signature theatre expanding his research of masks to a greater concept of the mask on the space, not only the body. With Manifesto Poetico Carlos' work reaches into a wider variety of theatrical territories and styles, leading him to the development of new theatrical languages where the body and the space are the base of storytelling and emotional communication. 

Our Open Source Research

We propose different approaches to theatre based on a ‘cinematographic theatrical language’ developed by Carlos García Estévez in his work with Manifesto Poetico Laboratory, the Laboratory for the study of Movement (LEM, École Jacques Lecoq in Paris) and his personal research over the past 20 years.

Carlos’ research incorporates different artistic disciplines (music, architecture, painting, dance...) and science (anthropology, philosophy, physics, geometry...). He also embraces multi-cultural influences sharing his time between more than 20 countries performing, directing, teaching and researching. 

From this research he has developed different approaches to story telling, based on his own concept of a mask on the space. This means a space that is transformed and transformable using suggestive abstract tools to mould the performative space, provoking completed imagined worlds in the minds-eye of the audience. His techniques include framing, jump cuts, and a pace that has been recognized as film-like, touching audiences today who come from this technological age of swipe iPads, touch smart phones and more.

Manifesto Poetico will also use grid, line, and point patterns, a tool developed by Carlos. This tool is based on a study of movement, society, architecture and gestures. It captures the recognizable system of forces that moves us through our daily lives. This is one of the ways in which Carlos has transferred an idea of mask performance into a masked space - a system of forces proposed by a mask: a system of forces proposed onto a space.

This technique developed by Carlos is a tool to introduce other elements into the theatre such as perspective, convergence and vanishing points (as used in architecture and painting) - creating a different sense of three-dimensionality for the audience, giving a film like (cinematographic) experience without the use of technology.

[ Read the Manifesto ]