CASILDA REGUEIRO
/ STORYTELLER
Casilda Regueiro
Like a meiga, a Galician witch, from her native land of spells and enchantments, Casilda brings back from oblivion stories from the oral tradition.
After years of singing, dancing and acquiring solid training in theatre, Casilda brings stories to life by going beyond simple narration.
She uses her voice, her expressiveness and her presence to transport the audience to imaginary worlds where anything is possible.
CASILDA
1990s
Casilda began her professional storytelling career more than thirty years ago alongside Tim Bowley, a British storyteller of international renown. She owes to him the art of telling stories with simplicity and authenticity.
Together they traveled the world for ten years, performing in all kinds of venues and before all kinds of audiences.
They toured Spain, Europe and Latin America, and even reached Tunisia, Istanbul and India to promote the Spanish language in collaboration with Instituto Cervantes.
They told stories in bilingual versions in all official language schools in Spain, at all oral storytelling festivals on the Iberian Peninsula, at numerous book fairs, in dozens of schools and institutes, libraries, hospitals, theaters, prisons, churches and even in caves.
2000s
Casilda has performed more than two thousand shows across several continents and has taught numerous storytelling workshops for amateurs, professional storytellers, teachers, museum guides, and companies in the watchmaking, perfumery and pharmaceutical industries.
She performs solo or accompanied by musicians, in French, English, or Spanish, constantly seeking new stories with deep meaning — maps for the soul.
Over the years, she has gathered a large repertoire of oral tradition tales from different cultures around the world, allowing her to tell stories to children, adolescents, and adult audiences. She chooses her stories according to the age of each audience.
2010s
In 2009, she introduced the concept of bilingual storytelling to Switzerland. Spanish, English, French and German are the languages she uses to share stories.
She introduced the concept of bilingual storytelling to Switzerland. Spanish, English, French, and German are the languages she uses to share her stories.
She completed four tours through secondary schools in Geneva with bilingual shows in English and French, followed by ten tours through primary schools.
She regularly performs at the La Cour de Contes Festival in Plan-les-Ouates and in municipal libraries.
Today
The world of music comes to her through musical tales in collaboration with the Orchestre de Lancy-Geneva. This began a great adventure in which word and music are intertwined — first with the OLG under Roberto Sawicki’s direction, then with the Terpsycordes Quartet (first prize at the Geneva competition in 2001), and more recently with the OSR Orchestre de la Suisse Romande in “Family Concerts” and “Concerts for Small Ears” at Victoria Hall.
“Today I seek to tell stories that inspire and give meaning to new generations, that give them hope — not with the goal of changing the world, but so that the turbulent world in which we live does not destroy innocence, humanity, sensitivity, vulnerability, and above all, humanism.”
2026
Victoria Hall — Orchestre de la Suisse Romande
/ Geneva
2025
Théâtre Saint Gervais. La Réplique — Néfissa Bénouniche et Deirdre Foster Fête du Théâtre 2025
/ Geneva
2025
Cycles d’Orientation — Tournée des Cycles du Canton
/ Geneva
2025
Salle Les 6 Toits — Orchestre de Chambre de Genève
/ Geneva
2024
Salle Geisendorf — Avec le Quatuor Terpsycordes
/ Geneva
2024
Château de Nyon — Week-end de contes au château
/ Nyon
2023
Espace le Commun et Ecole de Pâquis — Avec Yann Marussich, performeur.
/ Geneva
2023
Château d’Yverdon — Contes public famille pour la nuit des musées.
/ Yverdon
2023
Théâtre de la Parfumerie — Avec le Théâtre Spirale
/ Geneva
2019
Salle Geisendorf — Avec le Quatuor Terpsycordes
/ Geneva
2022
Théâtre de l’Orangerie
/ Geneva
2022
Victoria Hall — Avec l’Orchestre de la Suisse Romande
/ Geneva
2022
Société de Lecture
/ Geneva
2021
Musée d’Art et d’Histoire — Exposition sur les habits
/ Geneva
2021
UNESCO — Dans le cadre de la "Geneva Peace Week"
/ Geneva
2020
Journée de la langue espagnole — Palais des Nations, Salle XX, ONUG
/ Geneva
2019
Conservatoire de Musique — Avec le Quatuor Terpsycordes
/ Nyon
2019
Société de Lecture
/ Geneva
2019
Victoria Hall — avec l’Orchestre de la Suisse Romande
/ Geneva
2019
Musée d’Ethnographie — pour l’exposition « La fabrique des contes »
/ Geneva
2019
Salle Geisendor — Avec le Quatuor Terpsycordes
/ Geneva
2018
Festival Goyescas
/ Geneva
2017
Théâtre Les Salons, avec l’Orchestre de Lancy Genève, Direction Roberto Sawicki
/ Geneva
2016
Journée de la langue espagnole, salle XX, Palais des Nations, ONU, Genève
/ Geneva
2015
Forum de Meyrin
/ Geneva
2014
Fondation Bohr, contes japonais,
/ Geneva
2013
Musée Rath
/ Geneva
2013 - 2019
Bibliothèques Municipales de Genève.
/ Geneva
2012 - 2016
Musée d’Art et d’Histoire de Genève
/ Geneva
2012 - 2016
10 ans de spectacles annuels à la Société de Lecture, Genève
/ Geneva
2010 - 2021
Pour le DIP, 11 années consécutives de tournées dans les écoles de Genève
/ Geneva
2009
Tournée de 40 spectacles anglais-français dans les cycles d’orientation du canton
/ Geneva
2009
Théâtre Pitoeff — La Fureur de Lire Alice au Pays des Merveilles
/ Geneva
2008 - 2016
Bibliothèque du Forum de Meyrin
/ Geneva
2007 - 2021
Neuf éditions du Festival « La Cour des Contes », Plan-les-Ouates,
/ Geneva
2007 / 08 / 11
Centre pénitencier de Champ-Dollon, Genève
/ Geneva
2007
Festival international du conte « Il était une fois » avec Henry Gougaud,
/ Freiburg
2007
Université du Bosphore
/ Istanbul, Turkey
2006
Institut Cervantès
/ Tunis, Tunisia
2006
Foire du livre de Calcutta et Université de New Delhi
/ India
2005
La Nuit du Conte Suisse
/ Geneva
2004
Théâtre de la Parfumerie — Festival “De Bouche à Oreille”
/ Geneva
2004
Centre Pénitencier de Las Palmas, Gran Canaria
/ Spain
2004
Tournée des lycées de Lanzarote, Iles Canaries,
/ Spain
2004
Forum de Las Culturas 2004, 42 jours de représentations, Barcelone,
/ Spain
2003
Festival international de contes, Arzo, Tessin,
/ Switzerland
2003
l’Université de Coimbra
/ Portugal
2002
Université de Medellín et Université de Bogotá
/ Colombia
2000
Feira das Linguas, Lisbonne,
/ Portugal
2000
Festival International de Théâtre Classique de Almagro, Ciudad Real
/ Spain
1998
Marathon de Contes de Guadalajara
/ Spain
CAREER
Among the 2,000 or so shows I have given, here is an overview of the most important ones.
Stories from oral tradition have been passed down through the centuries, from mouth to mouth, transmitting the wisdom of humanity. They have essential messages to convey to us and tell us about the challenges that, sooner or later, we all have to face in life. For me, stories are like guides.
Yes, exactly. These treasures of oral tradition came to me by chance, and I feel it is my duty to share them with others. Of course, many of the stories in my repertoire can be found in books, but reading them is not the same as hearing them from a storyteller. When we listen to them being told, we also receive the energy of the person, their feelings, their images, their emotions and, above all, their humanity. It is a unique feeling of communion with the other, of sharing in the deepest sense of the word. Something ancestral awakens in us because telling and listening are the primary forms of communication between human beings.
Some stories I found in collections of oral tradition tales, such as those by Henri Gougaud, Antonio Almodóvar, and other French and Spanish authors. But above all, I received a magnificent legacy from the years I worked alongside Tim Bowley, who made an excellent selection of oral tradition stories from different cultures around the world, all filled with wisdom. The legends of King Arthur, Native American tales, Celtic stories from Ireland and Scotland, European fairy tales, as well as stories from Zen Buddhist, Sufi, Arab, Chinese, Japanese, and Indian traditions. It is a rich and varied repertoire in which all the stories have something in common: they are like maps to help us find our way in life.
I love languages, and for me, language is not an obstacle to telling a good story. There are many ways of telling a story. My style is to evoke images using simple words, going straight to the essence, without too many details or indulging in the beauty of language as a writer might do. This style allows listeners to create their own images and to retain what resonates most deeply with them at that particular moment in their lives, and it allows me to tell stories in several languages.
Not really. I was already 30 years old when I had my first contact with storytelling, when I met Tim Bowley, an English storyteller of international renown. He invited me to perform his shows on stage, and that was how I entered the world of storytelling. With his 35 years of experience, and after touring with him the most important storytelling venues in Spain and abroad, I accumulated a great deal of experience. I worked with him for seven years and then began my solo career.
I have a solid theatrical background, ten years of dance training, two years of classical singing, and extensive experience in voice work and physical expression. Alongside Tim Bowley, I learned the essential keys to good storytelling. But above all, I have been trained in the school of life, and it is experience that now allows me to embody characters and convey deep emotions to those who listen to me.
1998, the Guadalajara Storytelling Marathon, one of the most emblematic storytelling festivals in Spain. Tim and I began telling stories at the Palacio del Infantado, in front of an audience of 2,000 people, with a deafening background noise. And suddenly, an overwhelming silence fell, and everyone began to listen attentively—perhaps because it was something new to hear a bilingual performance. Two thousand minds began to imagine, to travel together! It is the most intense moment I have experienced in my 25-year career.
I don’t recall having had truly bad experiences while storytelling. Sometimes it was very difficult to tell stories in secondary schools to groups of teenagers who did not want to be there or listen. It felt strange, like a waste of energy. But over the years I came to understand that, by choosing the right stories adapted to each age group, even the most reluctant audiences inevitably end up letting themselves be carried away. Stories have that power.
It comes from an experience my father lived through. He was ten years old and swimming in the ocean when he was caught in a whirlpool. He was about to drown when a woman on the beach saw, in the distance, a hand emerging from the surface. She threw herself into the water and helped him get out. That woman, whose name was Casilda, saved his life, and my father decided that when he grew up, he would give that name to one of his daughters.
