Short description 

My research on movement focuses on how to combine weight, space and time in a relationship consistent with the shape that the body takes on, where by form I mean a dynamic physical structure that acts in a space.

"A human mind can imagine in a distinct and simultaneous way as many objects as images can be formed simultaneously in its body", writes Baruch Spinoza. It is on this principle that my research is based: different is the imaginary and the mental state of the dancer, different will be the shape of the body.

The dancer opens, through the form of the body, his inner world, his imagination. He shows it and grants it to the vision. And through this open form, made not only of tensions, the viewer can enter and participate in his own way.

Trying to shape a thought on movement therefore means trying to bring together internal and intimate worlds, both of the beholder and of those who act. It means trying to create a direct dialogue between two intimacies.

This sharing of experience is made possible starting from a technical perception of the performing body, from a precise, detailed and acute use of the body. Thus, starting from this type of perception and from an anatomical approach, it is possible to make an intimate journey a shared experience, and not only subjective or self-referential.


So, the dancer's body, inevitably unique in its expressiveness, in its personal and subjective approach to movement, can be a gateway to a discourse that transcends it.


In practice

The goal of the training that is the basis of the creative process of my research is to make the body more malleable and sensitive, ready to change rhythm, dynamics, state. A body free to choose, at any time and in any place, that is not hidden in the movement, but that disarms itself. A body that therefore places itself in a condition of fragility, that we too discover, together with him, at the very moment in which we are present and attentive to ourselves.


Starting from a 'reset' of the daily body (through breathing, the variation of internal tensions, the search for concentration, the change of perception, ...) we re-enter our body in a physical and perceptual state not daily, but deeper, intimate and open, which allows us to change the space (internal and external) and the time in which our body is and acts.

This process passes through a technical approach, from the fundamental principles of the language of dance concerning weight, space and time, which allow us to share the training path and then return to the uniqueness of our movement and our person.