Teatro que Danza - Theatre that Dances

We are a project devoted to develop contemporary theatre based on an integral training that focus the actor/dancer as the cornerstone of the scene. We strongly believe that the actor is a creative artist able to articulate an aesthetic, an ethic and a personal voice according to his/her professional identity. We are not a school in a traditional way but a space in which the performer can find a possibility to keep growing technically and ethically through different kind of training programmes and through the cultural exchange between artists coming from different disciplines and cultural backgrounds.

We are also a theatre group fascinated by performing arts new tendencies and by the chance to keep learning and appreciating life through theatre. we celebrate the joy of living by training daily and we are interested in the development of contemporary art research whether is physical theatre, realism, or dance, because we’re open to pull down boundaries between genres and styles, after all, common denominator is movement, and a well trained performer is the possibility of possibilities of theatre.

Theatre that dances is movement, is a living theatre that spreads out itself, that it is not afraid of risking and most important that denies immobility. Our influences come from sports, arts, ordinary life, dreaming, history and ethics.


Theatre that Dances is a space created by actors addressing performing artists interested in the ongoing process of training under a perspective of reflection, responsibility and coherence, with the strong commitment of impulsing the actor’s autonomy.


To consolidate us as an ethical-technical reference engaged with contemporary performing art, under the principles of constance, coherence, responsibility, reflection, discipline, plurality and respect.


Dykes to the sea

In a borderland like a port, a platform or a windowsill, two women are waiting. We do not know what exactly they are waiting for, perhaps forgetfulness, a memory, a signal, or a prodigy. For them, waiting is also a canon and an active task in many ways precise. Is the nourishment of an essential melancholy for something or someone about to come. We are at the sea and at a waiting room simultaneously, they may look opposites, but for these woman they’re not. The mist of the past and the forthcoming enigma are just two corners of the same nostalgia and they are two ages evoking visions and outdoor witchcrafts of their own narration. The subtle waiting gets into movement and words, while in a port or a window, letters fall and ships anchor.

Directors: Gabriela Pérez Negrete and Damián Cordero
Actresses/dancers: Adriana Ríos and Gabriela Pérez Negrete

1924 Revolution

Experimental physical theatre creation inspired by the Jacques Copeau revolutionary initiatives that would define new directions for modern theatre: the theatre and the School of Vieux Colombier. Performance Text shown at a classroom of the National School of Dramatic Art of Mexico as homage to the historical end-term performance
of the Vieux Colombier in which actors took to the limit their sensibility and technical skills without using words, make up, costume, lights, or scenography.

Alicia Lara
Flor Sandoval
Rolando Martìnez
Guillermo Villegas
Guillermo Islas
Raúl Sativa
Tania Hernández Martìnez
Carolina Garibay
Karla Miranda

The Insurmountable Fear

Contemporary aesthetic performance based on a no-distinction concept of actor/dancer/musician that explores ideas, questions and situations that one may consider secret and unique, but when shared, revealed as universal experiences reminding us the unfathomable mysteries of human condition and the secret coincidence of our past.

Collective creation by Harif Ovalle and Juan Pablo Villa
Original music by Juan Pablo Villa
General direction by Harif Ovalle
Performers: Harif Ovalle and Juan Pablo Villa

Interval (or one bread, two chesses and a large sausage)

Solo piece which technical principle is the work on mask and the expressive value of the actor’s body as a poetic continent for the scenic creation in an empty space. This kind of textuality requires a strong commitment from the actor/dancer to release all his creative forces so as to situate him as a participatory artist co-responsible of the theatrical process, and not just as a “translator” of the ideas and language of the director. It is not about to deny the presence of the director/choreographer but to expand the creative horizon of an actor/dancer. The performance renders homage to life and its paths full of uncertainty, wonder, and rejoicing. Life appears as a possibility of possibilities out of the reach of man. There are no traces, no paths and fragility of existence is the wonderful condition for the ages of man.

Performance text by Harif Ovalle
Actor/dancer: Harif Ovalle