+ 34 914-888-177 + 34 914-888-177

Madrid Chamber Theater

of the Madrid Chamber

Madrid Chamber Theater (TCM). Performing internship unit belonging to the Alicia Alonso Dance Foundation, aimed at theater students pursuing undergraduate, postgraduate and doctoral studies, offering them internships in a professional environment. 


The “Teatro de Cámara de Madrid” Company belongs to the Alicia Alonso Dance Foundation, where IUDAA-URJC students carry out their performing practices. 

The company promotes its best theatrical projects in different national and international performing spaces, as well as within the framework of festivals and events such as the Network for Higher Education in Performing Arts of the ITI/UNESCO, Network of Universities of the Unitwin Chair, Academy of the Performing Arts of Spain (AA.EE), UNESCO/iTi Spain projects such as Genuis Loci, among others. Its members have been trained and directed by IUDAA directors and teachers, with relevant experience in the current theater scene.


From the last year of studies, students of the Degree in Visual Arts and Dance, with a mention in Dance Theater, and until two years after graduation, the most relevant performers are part of the company's cast.

Training/ Research and creation

The Madrid Chamber Theater is a space open to creation in a multidisciplinary and academic environment, dedicated to the training and research of physical theater, its techniques and creative processes.

Company Teachers: Jorge Gallego, Carolina Aller, Sara Ballesteros

Artistic technical sheet →


The TCM shows have been presented at festivals such as “Segovia en Danza” or the “Salamanca Youth Theater Competition”, where they have been awarded the 1st Prize for “Best staging” on two occasions.

Physical theater and research

Creation and experimentalism, our driving force.

The Word emerges from the dream like a flower or like a glass full of shapes and smoke.

Antonin Artaud
French poet, playwright, stage director and actor.


Dance-Theater (Physical Theater)

Research and scenic creation.


Come on stage with us!

Investigate, create, transform.



The operation of the company is organized through the distribution of basic functions that cover management, production, creation and artistic operation, mechanisms typical of a professional company.

stage performances

The Madrid Chamber Theater carries out a dozen performances, galas and annual activities, thanks to its links with the Spanish Theater Network, the Círculo de Bellas Artes de Madrid, the iTi Spain, among other institutions.


The TCM repertoire incorporates classic and contemporary texts. The objective is to work from a complete, complex and multidisciplinary historical perspective, which addresses reference theatrical methodologies and theories.

Multidisciplinary projects

The Madrid Chamber Theater works on the investigation of scenic languages, reflecting from the body, with a multidisciplinary and transversal vision, in a context of hybridization and integration of the arts as a participatory artistic practice. 

News from the Madrid Chamber Theater

upcoming presentations

  • The Madrid Chamber Theater has resumed its activity and will soon announce new presentations of the new works that the company is currently working on.

ITI/UNESCO international project

Genius Loci

Genius loci is the connection of women and men with their environment, culture, desires, it is the expression of a community. We are convinced that there is a Genius Loci of Europe that expresses itself through its arts, its cultures, in its multiple and diverse expressions, in its "Unity in Diversity."

Last 5 years

Company premieres

Quixote Party

Quixote Party
Theater in and Beyond the Time of COVID-19

Premiere (July 2020)

Within the official programming of the Network for Higher Education in the Performing Arts ITI/UNESCO.
Piccolo Theater in Milan.

Quijote Party is a project carried out entirely during the pandemic and the confinement of Covid19. Our goal was to perform this theatrical project on stage, but now the stage has moved to cities, towns and even homes of the players. They have recorded the scenes on their own, from their homes and
have made a great technical and human effort to produce their individual projects, converted them into small videos with the few means available to these brave performers.
Today, more than ever, Don Quixote's metaphor exemplifi is the fight that every day confronts us with an invisible monster
called coronavirus.
As Don Quixote's windmill, it launches us into the air, shakes us and threatens us to turn off the light and plunge us into shadows, uncertainty and fear. But once again, as in Don Quixote's adventure, the answer to fear is hope, and faith in our ability to prevail, in our endurance instinct and above all, we must trust our imagination to rebuild the present and make a way for the future. To fly away, that is our privilege!

→ Download project

Esther Berzal Saiz (actress)
Alicia de Pablo Sánchez (actress)
Alícia Villora Esteve (actress)
Daniel Borrego Aravaca (circus artist)
Dana Calderón Díaz (circus artist)
Direction and editing: Liuba Cid
Dramaturgy: Liuba Cid/ Esther Berzal.

Dramaturgy: Liuba Cid/ Esther Berzal
Edition and Directed by Liuba Cid

Pinocchio 7.0

Pinocchio 7.0

Premiere (2019)

Author: Liuba Cid
Choreography: Ioshinobu N. Sanler
Circus paintings: Jorge Gallego

Carlo Collodi's version of the story is presented with a new updated fable that tells the story of a doll who wants to stop being a doll to do the things that other children do: play, eat ice cream, read stories and have a friend. In a dark wooden toy factory, boss Box forces the children to tirelessly make the doll pair "Gos and Gor." The mysterious Mr. Stromboli has cajoled them with false promises, offering them a better life without school, without homework, without punishments. The toy factory is on the verge of bankruptcy, to save it, the evil Stromboli gives boss Box a special log, the heart of an old oak tree that he must transform into the perfect doll. The old and defective factory machinery breaks down and…

The language of dance and circus techniques are integrated into the dramatic game to give life to the fable of the classic story of “Pinocchio”, the archetype of a doll who wants to be a child, and whose nose grows indiscreetly.
when he tells lies.
In our montage we have made a review of the contents of the story to give life to the story that Collodi devised, beyond the narration we discover a story of overcoming, love and friendship. Geppetto has transformed into a middle-class rich man who has fallen into disrepair, an unscrupulous toy maker who only thinks about cutting down more trees to make many dolls, even if he has to destroy the Amazon to do so... Pinocchio is a defective but gifted doll. of great emotional intelligence that makes him think of a world in which we can all be equal, despite
of our differences.
The evil Stromboli is presented as a mysterious unscrupulous trafficker, a tyrant who trades in slave children who are forced to work tirelessly in the toy factory. The blue fairy has become the sweet Henriette, a lonely reading girl, who no one pays attention to, except her great friend Pinocchio. Thus, our Pinocchio, that rebellious child that lives in all of us, begins a journey that
It will lead you to maturity and perhaps, to achieve what you set out to do.

Artistic-technical sheet
Pinocchio: Ian Castillo (someone who is different from others)
Box Manager: Jorge Casado (Owner of the “Sweet Dreams” doll factory)
Dog 1: Dalila Mealla (helper)
Dog 2: Esther Berzal (helper)
Henrriette: Clara Rivillo (Niece of Chief Box)
Mrs. Floripópolis: Paula García (wife of Chief Box)
Bartolino: Paloma Díez Calvo (son of Box and Floripópolis)
Pinocchio teachers
Tyranny: Sonia Cánovas
Florinda: Irene Simón
Raposa: Jessica Espinosa
Escarpia: Paula García
Stromboli: Daniel Albaladejo
Voice of conscience: Karmele Aramburu
Automaton: Víctor Rojo Sanz
Children from the maintenance section: K343 Laura Díaz Ruiz / K124 Paloma Díez Calvo/
B586 Laura Gumucio García / N853 David Martín Hidalgo / K116 Víctor Rojo Sanz
Children from the assembly section: Alejandro García/ Laura Martínez/ Yuridia Rodríguez /
Luisana Castillo / Carla León / Génesis Villamán / Vidalis De la Cruz / Cristian Hazin /
Cesar Maekawa / Carol Brito / Daniel Calim / Rubén Fernández-Dávila / Miguel Ángel
Ramirez (cover)
Disposable dolls and mannequins: Sara Muñoz / María López/ Lucía Llamas
Flora del Carmen/ Sofía Hoyos/ Andrés Palacios Z/ Daniel Borrego/ Miguel Sánchez
of the white one/ Samuel Rida Catalá/ Manuel López/ Lourdes moreno/ César López.

Creation team
Choreography: Ioshinobu N. Sanler
Circus paintings: Jorge Gallego
Sound space: Liuba Cid
Lighting: Madrid Chamber Theater
Choreographic assembly assistant: Nicolás Naut
Painting and props: Esther Berzal
Graphic and audiovisual design: Betho &Viola
Music Teacher: Pilar Ordóñez
Teachers' locker room: Twenty-Nine
Circus costume making: Pablo Seguel
Artistic direction: Ioshinou N. Sanler/ Jorge Gallego/ Liuba Cid
Staging: Liuba Cid
Company: Madrid Chamber Theater/Madrid Chamber Ballet
“Alícia Alonso” Dance Foundation
Produced by: Madrid Chamber Theater
General Management: Alberto García Cataño
Thanks: Daniel Albaladejo and Karmele Aramburu

the shoemaker

«The Zapatera»

Premiere (2019)

Version and direction: Rey Montesinos
Playwright: Esther Berzal Saiz

Appropriating this Zapaterita, we reread with a graduated magnifying glass, the most irreverent, restless, fanciful and free Lorca. A female character built between his type and archetype, that of a primary creature, possibly as a myth of our pure unsatisfied illusion.
The fabled structure of our work, almost vulgar in terms of direct reality, visibly flows through a kind of poetic thread, sometimes altered by the comic scream and other times by the drama of a young woman, who decides to live in a Spanish town, which she reached when she married Zapatero, a man twenty years older than her. Our heroine is a rural woman who refuses to hide her beauty, her ways of loving, her ways of understanding her life, to be accepted in a puritanical, conservative society castrated by dogmas from past and unnecessary times. The original characters will also be accompanied by other Lorca people, recognizable in confessions and speeches shared with our extrovert Zapatera, omnipresent or spectral at times.
Our function delves, without complexes, into the universes of Feminism with marked intention, also addressing, among other topics, civil rights, equality, diversity and social inclusion, without taking away space from reflections on love and desire, marriage and motherhood, power and its dalliances, loneliness and company. A piece created and performed in feminist times, but for all audiences. A violent comedy strange to the popular language in Spanish, but with Andalusian words and syntax, sometimes allowing a slight Cervantine caricature.

Love, sleep and confusion, on a summer night

Love, sleep and confusion, on a summer night.
Comedy drama with romantic overtones

Premiere 2018.

Based on the play “A Midsummer Night's Dream”, by William Shakespeare, the great master of Elizabethan theatre, we have created an updated version of that luminous comedy about love and its dangers, power and its actions; about destiny, chaos, order and its laws. And of course, once again, about the theater within the theater.
The funny Robin (Puck) tells us the story about the love revenge that he plots in the name of his master, unleashing the adventures of the rest of the mortals; victims of one of those most confusing, dark and stormy nights they could remember. The controversial dispute between their kings, Oberon and Titania over a child in custody will be the main cause of so much disorder.

DURATION: 85 min.
MUSICAL ARRANGEMENTS and PIANO: Gonso Sanz / Irene Simón / Clara Rivillo
SCENEGRAPHY: Jose Mª Utrera/ Gabriel Buenaventura/ Kiko Guerra

Clara Rivillo/ Yolkin Perez/ Yolanda Yarez/ Adrián Oliva/
Evelyn Naranjo/ Iratxe Arrizabalo/ Paula Ruiz / Víctor Rodríguez/Jorge Casado/
Sonia Cánovas/ Paula García/ Elena Guerrero/ Jessica Espinosa/ Celia
Juárez/ Laura Sánchez/ Paula Brito/Irene Simón/ Stefanía Soto

The Commedia (non) is finite

The Commedia (non) is finite

Premiere (2018)

Inspired by a text by Pablo Mª de la Barrera

A company rehearses the staging of its next play inspired by a Shakespeare comedy, but a series of events precipitate the audience's arrival at the theater and they are forced to improvise the performance. With the costumes unfinished, the assembly unfinished and the scenery halfway to carpentry; The idea arises of “playing” to represent a little of all those characters that each one has played in the past.
From that chest of masks the comedy is built, revealing an open secret “The theater is in crisis. “The theater is irremediably dying.”
If the theater was dying, it is logical that Dionysus – god of the performing arts – would be nervous; It is logical that he looked for a way out; It is logical that he sent his best agent to save the situation... Dionisio's offices. Hot day. The theater is dying for us. And we have no choice but to turn the history of theater upside down to save theater...
Put your chair upright and prepare for a loving slap.
from Shakespeare, Sophocles, Beckett and many others.

Vanesa Garcia
Gonzalo Alarcia
Patricia Sevilla
Luisa Buitrago
Esther Berzal
Technical sheet
Stage space and dramaturgy: TCM
Costumes: Mephisto Teatro
Sound space: Liuba Cid
Lighting: Javier Otero
Alicia Alonso URJC University Dance Institute
Inc. Nérrupa's manias

The woman of strength

The woman of strength

Premiere (2018)

In this world lived collectively, the words abandonment, individuality and loneliness are a life sentence. At the end of the day we all need someone to save us... but maybe the answer is to invest our strength and look for it.
La Mujer de la Fuerza is a show resulting from a need and an urgent awareness: in the XNUMXst century, harassment of women and gender violence must appear. Women must be equal to men in every way. This reflection leads the director to begin the research journey of this project, the result of which is The Woman of Strength.
Taking as a starting point the text by Angélica Liddell, The House of Strength, the aim is to reach a young audience, the new generations, who are the ones who have to raise everyone to the same level. That is why the texts are rethought, and others are added with the obligation
to be very current, as may be the case of “the pack” that is on all the news today. Melodies and songs demanded by the young audience with different styles such as reggaeton, funk or rap are added to precisely attract this young audience and raise awareness, since more and more cases of gender violence at younger ages are known.
It is intended to make it known that women and men who pursue equality are not going to stop at anything or anyone, until it is achieved in all segments of our society and life.

Version and Direction: Javier Otero
Adaptation from texts by Angelica Liddell, Sergi Belbel, Gata Cattana
Original Texts: Nayarit Sources
Music: VVAA
Musical Arrangements and Compositions: Lucía Feijoo, Demetrio Díaz
Vocal Technique Advisor: Laura González
Choreography Assistants: Clara Toledo, David Fuster
Lighting Design: Javier Otero
Starring: Violeta Baeza, Beatriz Barca, Laura Díaz, Paloma Díez, Laura Exposito, Lucía Feijoo, Nayarit Fuentes, Laura Gabeiras, Marta González, Laura Gumucio, Nerea Iguiñiz, Irene Manzanal, Valentina Pico, Niobe Tarín, Clara Toledo, Daniel Capa, David Fuster, Manuel López, David Martín, Víctor Rojo
Duration: 60 minutes

From Lorca his Bernarda

«From Lorca his Bernarda»

Premiere (2014 / 2017)
Version and direction by Rey Montesinos on texts, interviews and letters by Federico G. Lorca

A journalist interviews Lorca for a report on the author's life. While they talk,
Scenes from the piece he is creating at that moment come to Federico's mind, a drama about the life of women in the towns of Spain.
In these scenes we observe the stormy relationships that exist between Bernarda's daughters and herself, all locked in the mourning to which they are subjected by iron discipline, custom and tradition. Coexistence in the house is disturbed by love, jealousy, envy and, above all, the desire for freedom.

Towards Baal

"To Baal"

Premiere (2017)
Version and direction by Rey Montesinos on the text by B. Brecht

A metatheatrical reflection, the result of a process of stage research on the work of Bertolt Brecht.
The members of a theater company invite the public to a dress rehearsal of the first piece written by the younger, anarchist, nihilistic and sexually ambiguous Brecht. It is the story of a poet, private, rebel, transgressor and mass leader called: “Baal”. Recognized by all as “The People's Poet”, he fights for free and honest art, gives himself over to wild life, fleeing from dogmas and labels, becoming the antihero, to destroy the hero. The new Adam in the light of the moon… “When Baal was already growing in the womb, the sky was pale, it was great and eternal”… But the excesses, his errors, the priced nocturnal pleasures, the laziness and indolence, the Lack of faith and fear of love make their adventures, without realizing it, an escape towards the least desired solitude.

The bitter shell

The Bitter Shell

Premiere (2016)

Adaptation based on the novel by Jesús Ruiz Mantilla.
Music: VVAA
Director: Javier Otero.
Assistant Director: Ana Mercy Alonso.
Synopsis: Emilia, suddenly, must learn on the street the meaning of what she feels: hunger, abandonment, loneliness, illness, war, death... The girl who suddenly sees how her life collapses, stripped of her mother, prey to the hell of Saturrarán at the end of the war, at the expense of the elements and avoiding the tragedy with his brothers. The survival of some boys and their mother as a fundamental element of this piece and the fight for the unity of loved ones.
Adaptation for theater of Jesús Ruiz Mantilla's novel La Cáscara Amarga, theater direction and choreography. Immersive theater production premiered at La Carcel (women's) Creation Center of the City of Segovia, Spain, during the 2016 Segovia en Danza Festival and as the closing of the University Theater Festival of the UNITWIN network, organized by Georgetown University
together with ITI Spain within the framework of the 35th Congress of the International Theater Institute held in July 2017.
In-depth research on the post-Spanish civil war gave rise to this innovative immersive theater show that is characterized by the simultaneity of scenes, where the audience moves through the stage space and freely chooses what to see and where they see it from, reaching an explosion of joint emotion, but with a very different journey that is made totally unique by the experience of each of the spectators.
Duration: 90 Minutes.
Number of Performers: 20.

I Sigismund

"I Sigismund"

Premiere (2016)
Version and direction by Rey Montesinos based on texts by Calderón de la Barca
"The man who lives dreams what he is until he wakes up," says Calderón in the mouth of Segismundo. Appropriating this philosophical universe, we tell the story of a man who wakes up in the middle of a dream reality. Reflection on human beings and power, their desires, their actions, good, evil... the finger on one of those wounds that hurt, because they have been poorly healed... And a people that longs to save that great theater in which it has been converted the world he inhabits. A classic from the Spanish Golden Age revisited with eyes that live in XNUMXst Century Spain.



Premiere (2015)

Author: Euripides
Adaptation, Direction and Choreography: Javier Otero
Music: VVAA
Duration:60 minutes

Synopsis: Better the bad you know than the good you don't know. Greek tragedy
It affects how we are managed and used by power.


Psycho at 4:48

Psycho at 4:48

Premiere (2014/15)

Author: Sarah Kane
Adaptation, Direction and Choreography: Javier Otero
Music: VVAA
Lighting and Audiovisual Design: Javier Otero and Enrique P. Velasco
Duration: 60 minutes

Synopsis: “I have become so desperate thinking about my mortality that I have decided to commit suicide.” "I am not here and I never was." Sarah Kane committed suicide after finishing writing this text. In an autobiographical way she shows us the dilemma of the existence of the being and how body and soul cannot be completely united.
This version of Physical Theater delves into that very thing, how the soul needs to get out of a body in which it does not fit, that is created too small for it.
4:48 is the time in which the effect of the medications fades, it is when the character really has all his motor running and it is the moment he decides to end his life.