KNUK THEATRE is an International Theatre Company based in London -Madrid and Buenos Aires.
Originally founded by Ana Mirtha Sariego as "City of The Moon Theatre", the company was reborn in 2017 with a new name "Knuk Theatre", two new artists Nicolás Greco (Argentina) and Ryan Murphy(U.K) and a new project "Maché Ado About Nothing".
We devise work as an ensemble, drawing on aspects of Theatre, Circus, Dance and Movement. Knuk aims to provoke audiences by creating high-impact visual and physical theatre.
Sharing a particular interest in the eccentric and the absurd, the company uses clown, puppetry, slapstick and multi-lingual text to interrogate big human themes such as identity, love, loss and belonging.
Knuk believes in Theatre that has no limits or fears. Theatre that is so imprudent that it dares to challenge the boundaries of art and life itself. Theatre that is not only entertainment, but also a means of connecting and sharing with the audience.
We create with passion and relentless enthusiasm. As if it was the first day we had ever gathered together in a rehearsal room. As if we had never fallen, failed and recovered a thousand times before.
Knuk takes its inspiration from the works of different artists from a diverse array of disciplines, such as Sammuel Beckett, Harold Pinter, Magritte, Escher, Jacek Yerka, Arvö Part, Aki Kaurismaki, Emir Kusturika, Charlie Chaplin, Laurel & Hardy.
We are lucky enough to be in collaboration with the wonderful stupidity of exciting artists and performers from different nationalities and backgrounds:
Jorge Velasco (Spain)Jed Hancock-Brainerd (U.S.A), Rebecca Noon (U.S.A), Diego Akselrad (Argentina), Randy Gingsburg (U.S.A) Carlos Jiménez-Alfaro (Spain), Alejandro de Santos (Spain), Emiliano Calcagno (Spain), Jordi Rovira (Spain).
Who we are
Ana Mirtha Sariego
Ana Mirtha is a Spanish theatre artist living in London and Madrid.
She graduated in Physical Theatre at the London International School of Performing Arts (LISPA). A two year Lecoq´s based and devising theatre program directed by Thomas Prattki. And has completed her studies in clown, puppetry, butoh, contemporary dance, Laban technique, and circus (tumbling, acro-balance, flying trapeze, static trapeze, Chinese pole, tight wire, rope and unicycle) at The Circus Space (London), The Place (London) Central School of Speech and Drama(London), Rada (Royal Academy of Dramatic Arts) (London), La Cuarta Pared (Madrid) and Karen Taft (Madrid).
She has worked internationally as a perfomer-deviser, director and puppeteer for several companies such as: Wet Picnic (U.K) ,Strange Attractor Theatre (U.S.A), Finger in the Pie (U.K), La Mirilla Teatro (Spain), No Time Teatro (Spain) or Cabuia Teatro (Argentina)
Ana Mirtha has also trained with Norman Taylor (Lecoq), Lorna Marshall, John Nobbs(Suzuki Technique), Jacqui Carrol (Suzuki Technique), Vanessa Ewan (Laban), Richard Emmert (Teatro Noh), France Barbe (Danza Butoh), Marie Gabrielle-Rotie (Butoh) and companies such as: Song of the Goat, Wired Aerial Theatre and Frank Theatre among others.
Over 10 years, she has specialized in devising and physical theatre, but she has also worked with text with different directors both in U.K (Filiz Özcan, Alex Parsonage) and Spain (Antonio Avellaneda, Carlos Manzanares, etc).
She has taught Physical Theatre, Devising Skills, Playfulness and Clown in Estudio Juan Codina (Madrid, Spain), ESAD (Vigo, Spain), Greenwich University (London, U.K) and for companies such as DAF Theatre (Madrid, Spain) and ECAS Theatre (Providence, Rhode Island).
Ana Mirtha is passionate about the poetry of movement. Her interests as a theatre maker go beyong the theatre of mere entertainment. She focuses in creating a theatre that grows from the honesty of the actor´s body and it´s capacity to make visible the invisible, with the intention of provoking the audience new questions about existence and theatre itself.
As an artist she firmly believes that on stage “ Everything is possible” and she resumes her passion for creation with Beckett´s famous quote: “ No matter. Try again. Fail again. Fail better”.
Nicolás Emmanuel Greco
Nicolás co-founded his first theatre company in 2014, beginning his research into movement, dance and acting, by co-directing and performing in the show "TACHOENGRITO".
In 2015, following his interest in the poetry of movement, he enrolled in Physical Theatre studies at the International School of CABUIA in Buenos Aires. The school program is based in the Lecoq pedagogy, and is led by teachers such as Pablo López (LISPA, London), Pablo Gershanik ( École, Paris), Heriberto Montalván, (LISPA,London), Giovanni Fussetti, (Helikos, Italy) and Pierrik Malenbranche (Compagnie Philippe Genty, Paris).
Nicolás then pursued a new artistic path, meeting Ornella Costabile y Pablo Pellegrini, with whom he shares an interest in the critic of the performative arts and literature. Their collaborative process resulted in the creation of a brand-new group named “LA N”, in which Nico further developed himself as an Artistic Director, Performer and Scenographer. Alongside this, he continued his studies on Direction, with Emilio García Wehbi.
In 2016, he begun his studies in Art Critique at the UBA (Universidad de Buenos Aires). During this year, Nico furthered his performative investigation with Omar Pacheco (director of "La Otra Orilla"Theatre), who became a reference point for him in movement aesthetic. Whilst studying, he also became interested in the work of Romeo Castellucci and "El Periférico de Objetos" among others.
Nico's main interest is still the poetry of movement and his recurrent themes are human troubles, love, art and the aesthetics.
School of Performing Arts, under the direction of Thomas Prattki. He has continued exploring the concept and practice of theatrical mask work with other practitioners such as Norman Taylor (Lassad International School) Antonio Fava (School of Comic Acting), Antón Valen and Gabriel Chame among others (Cirque du Soleil) and Philip Gaulier. He has studied ritual mask in the Bolivian Amazon and in Bali with teachers such as I Made Djimat and Ida Bagus Oka. Specialized in mask theatre pedagogy he has taught at the Master’s Degree in Dance and Movement Arts at the UCAM University, Murcia; at the Nouveau Colombier mime school, Madrid; the International School of Devising Theatre and Movement Cabuia, and the Graduate degree in Mask Theatre at the University of San Martín, both in Buenos Aires. As director he has directed shows in Spain with Enkidu Teatro such as El hombre de la Arena, Sandman Returns and Teatro en 24 Horas and Improstores de Cine, and curated theatre events at the centre for contemporary art Centro Párraga. In Latin América he has directed Aurora Pampina for Teatro No Más, in Chile and worked for Tabla Roja in La Paz, Bolivia. As an actor he has worked for companies in the UK such as New Art Club (the invisible men), Warhorse Theatre Works (Commedy of Errors) and Limping Father (Herencia Española) and the Pallela Project. In Spain he has performed with Improstores and Los Nadies, and in Argentina he has performed with Cabuia Teatro. He has also performed on the streets of different European cities with solo comic show.
Carlos believes that movement theatre has the power to change our perspectives on life and to help us understand the forces that underlie all phenomena in the world. His focus is on developing a theatre that captivates the attention of the spectator by the use of movement techniques and articulate stagecraft.
He is interested in a theatre that will transport us in order to experience life more fully, daring to explore the hidden corners of our existence and that of the societies we live in.
Jorge Velasco is an actor, dancer and singer originally from Barcelona.
At a very early age, he started his studies in music and singing at Conservatorio de Terrassa in Barcelona. He specialized in violin.
He continued his exploration in the arts, studying movement through dance and theatre. He trained as a professional dancer in the BROADWAY DANCE CENTRE (New York) and as an actor in the studio NANCY TUÑÓN in Barcelona, as well as training with prestigious teachers as Fernando Piernas or Mercedes Boronat among others.
Soon he started working as a professional dancer and singer in the musical theatre scene in Barcelona and Madrid.
He has worked internationally as an actor both in theatre and in T.V in Barcelona, Madrid, New York and Buenos Aires.
Some of his recent works in Theatre are: "Tot es fum" and " Mrs Death, in diàleg amber Espiru" ( L´era de les Impuxibles company) " Renard o el Lliebre de les bèsties" (Teatre Lliure)y "El zoo de vidre" directed by Boris Rotenteintein, “El zoo de Cristal” (Teatro Akademia, Barcelona), “Prácticas de vuelo”( feria de Tárrega), "Human" (Dactilar Teatro) directed by Ana Mirtha Sariego, among others.
In Musical Theatre: Grease (Teatro Nuevo Alcalá,Madrid y Teatro Victoria, Barcelona), Cop de Rock (Teatro Victoria,Barcelona), Blancanieves Boulevard, Flor de nit ( Teatro Almería, Barcelona), Carmen de Bizet (Barcelona), Guapos & Pobres (Teatro Goya, Barcelona).
And in T.V he has worked in the Spanish TV series: Aguila Roja (TVE), Gavilanes (Antena 3) and La Riera (TV3)
Currently his interests in art focus on Devising Theatre, where his aim is to create the theatre that will bring together all of the different artistic disciplines that he has studied.
If You Shoot A Boot You Might Get Wet
The apocalypse has come and gone and all that’s left is a house made of suitcases amid a sea of junk and two eccentrics trying to make the best of it.
Follow the insufferable lives of two people choosing necessity over logic in this quirky comedy that utilizes the style of a by-gone era.
A collaborative work with Strange Attractor Theatre Company.
An international creation with Artists Ana Mirtha Sariego, Jed Hancock-Brainerd and Rebecca Noon
Tara Under The Weather
Tara is lost in many ways.
The company tells the simple and moving story of a young woman who for the first time, decides to face her fears, the same fears that paralyze most of us.
In the depths of doubt, darkness and disconcert, it is possible to find light, playfulness and magic criatures.
Tara Under The Weather is the story of any Human Being and the strategies we find to escape reality.
An actress and two puppeteers make Tara's fantastical world come to life.
Maché Ado About Nothing
Mache Ado About Nothing is a collaborative exploration of language and social lunacy.
Based in a work-based dystopia, the office becomes a setting rather than a subject. The stage transforms into a world of drawing, colour, and intrigue as paper and equipment become alive and increasingly hungry.
This world has its own rules, its own norms, and its own sense of what is acceptable. Using puppetry and physical theatre to uncover a madness that tears apart and examines the human psyche.
Influenced by short films such as Rat Race (Steve Cutts) and The Meaningful Life Project. This project began as early research and development before branching out into separate performances and works. Supported by the National Centre of Circus Arts via Lab:time.
An international creation with Artists Ana Mirtha Sariego (performer-deviser)Nicolas Greco (performer-deviser), Ryan Murphy (performer-deviser) and Ross Flight (sound designer).
Due to it´s international nature, currently the company has several projects under development that are waiting to see the light soon:
HOME. A JOURNEY TO THE UNKNOWN: Nicolás Greco, Ana Mirtha Sariego, Carlos Cegarra, Marta de Carvalho, Jordi Rovira.
NO MAN´S LAND (l.o.s.t): Ana Mirtha Sariego, Nicolás Greco, Jorge Velasco, Matt Feerick.
SIN LUGAR/SIN FECHA: Nicolás Greco y Pablo Pellegrini
KNUK (The Play) : Alejandro de Santos, Carlos Jiménez-Alfaro, Gon Ramos, Ryan Murphy, Nicolás Greco and Ana Mirtha Sariego.
PHIL y NIFLOW: Carlos Jiménez-Alfaro and Ana Mirtha Sariego.
A y E: Ana Mirtha Sariego y Carlos Jiménez.
LA TOMATINA: Jed Hancock-Brainerd, Aram Aghazarian,Rebecca Noon and Ana Mirtha Sariego.
TWO IDIOTS TELLING A STORY: Ryan Murphy and Ana Mirtha Sariego.
METAMORFOSIS: Nicolás Greco and Ana Mirtha Sariego.
Las Aventuras y Desventuras de una enANA de pelo rojo: Ana Mirtha Sariego.
Knuk Theatre International School encourages the creation of theatre through exploration of movement.
Artists from all around the world ,with different backgrounds and movement disciplines come together to offer an exciting and playful vision of theatre-making rooted in the Lecoq pedagogy and the devising practice.
The School is deeply interested in boosting the students imagination helping them to find their own creative language through exploring different dramatic tools. We create a safe environment for them to experiment and take risks without being afraid of failing.
Courses & Workshops
- Collective Creation: The Creative Game and Group Creation
The ultimate purpose of the play is the collective creation. In many cases, the artist finds an important obstacle to transmit to the group emotions, ideas or provocations that are useful for the creation of a play. Therefore, in this section, we will explore the essential principles of individual improvisation, in pairs or in groups. We will learn group devising techniques which we will use to translate into the space what our body wants to express and transmit.
Suitable for actors with training and / or professional experience as well as those who simply wish to explore the principles of Physical Theatre. Available as three separate workshops, or as part of a structured course.
The Poetic Body
The mind is quieted, the body is activated, the voice takes on dimension and the imagination is released. A workshop to explore the performing arts with no end other than to discover the immense possibilities that we share. A workshop of games, emotion, rhythm and poetry. An introduction to Lecoq's Physical Theatre. A space to grow and create.
-Theatrical play: energy, creativity and imagination.
We will focus on releasing the potential and intuition of each actor and actress through theatrical play and practical techniques that will help us to develop individual and collective creativity. A shared game will guide us spontaneously, as a tool to break the barrier of the mind and discover that the theatre has no limits and therefore, as actors, we do not have them either.
- The Poetic Body: environment, space and movement as a creative tool.
We will take an introductory tour of Lecoq's 20/21 moves to understand the basic dynamics of "push" and "pull". Next we will focus on the study of the dynamics of our environment, the movement and the rhythms through which we explore states and emotions with the ultimate purpose of character creation. We will make the invisible visible and understand the theatrical space through our body and its relation to space. We will work with the support of other artistic forms such as painting, architecture, sculpture or music, as well as with the qualities of elements and animals, to intuitively understand the body and the principles that govern the movement in creation.