• Script

2. The dramatic instruments in the evolution of the character.
From June 2 to June 5 (in the afternoons)
Professor: Francisco López Sacha
The objective of this module is to have students understand, learn, analyse and apply the theoretical and practice basis of the screenplay dramatics in relation to the students' original texts. It includes lectures, analysis of works of the universal drama, exhibition of films and readings, and references to the characters of students' stories.

3. The construction of character technique.
From June 8 to June 19 (mornings and afternoons)
Professor: Jorge Goldenberg
The objective of this module is to acquire and apply methodology and operating dramatic strategies to deal with the writing of the character of their projects. It includes lectures supported by exhibitions of audiovisual materials and individual and group readings of texts reflecting on fictional creative construction with the purpose of achieving efficiency in character construction. It will also focuse on group dialogue techniques of class exercises between the students to develop creative skills and aptitudes for writing the original dramatic characters of their stories.

4. A general look of character through the structure of the story.
From June 22 to July 3 (morning and afternoons)
Professor: Doc Comparato
The objective of this course is to apply the knowledge, skills and talents acquired in the workshop through a general look of the character in an individual and original dramatic text. This creative and systematic process involves going through every stage of the writing of character for the dramatic text, from the conception of the character to its insertion in the story.

5. Dramatized reading and staging of some scenes of the projects.
From July 6 to July 10 (mornings, afternoon and in the evenings)
Professor: Gerrdo Chijona
Its objective is to explore certain scenes and detect their possible dramatic problems that contribute to represent them or not, taking into account that the essential element of every scene is the emotional conflict between the characters. This is a very useful method because it allows scriptwriters to SEE through the actors, possible problems to solve in further writing of the scenes.

• Doc Comparato (Brazil)
  He is a doctor, but also devotes to dramatic arts. He founded the Creative Department of Rede Globo, and of many European televisions. Most of his work is dedicated to film and TV in Brazil and other countries. He wrote the TV series Malu Mujer which was exhibited all over Latin America and established a high-quality mark for Brazilian soap operas.
  
• Eliseo Altunaga (Cuba)
  Hispanic Literature First Degree at Universidad de La Habana, senior teacher at Superior Institute of Arts, narrator, journalist, essayist, scriptwriter, member of Cuban Artist and Writer Union (UNEAC).
  Significant novels and script author, he has delivered script lectures at several countries.
  
  
• Gerardo Chijona Valdés (Cuba)
  Director, scriptwriter, film critics, graduated from English Language at Havana University, his first work was firstly dedicated to direction assistance and lately as First Assistant Director. In 1984 began to direct documentary films and in 1992 direct his first full length film entitled Adorables mentiras which was premiered at Sundance Film Festival and he was also finalist for Cannes awards. His work has been awarded at international and national contests. He is currently senior teacher at EICTV
  
• Jorge Goldenberg (Argentina)
  Scriptwriter, actor, editor, theatre author and director, graduated from Film Institute of the National University of Litoral. His scripts include No toquen a la nena, Plata dulce, Pasajeros de una pesadilla, Eversmile New Jersey, La frontera de Miss Mary, La película del Rey, De eso no se habla, and Tinta Roja. He has been awarded at many international contests, and teaches at several universities.