How I work

I am drawn to the fusion of different stage techniques: contemporary dance, object theatre, dissociated manipulation, and the endless possibilities offered by interpretative synthesis, the use of estrangement as a narrative accent, the exploration of ‘presence’ in the performer’s work, the conception of the stage as a space belonging to ‘the sacred’.

We are heirs to the twentieth century, to Bertolt Brecht, Suzuki and Peter Brook among so many others, but I am also aware of the changes the twenty-first has brought, and I plunge into techniques of my own that are barely explored: I develop my own language, and every production is a space of learning that lets me move towards codes of my own, personal ones, towards a coherent discourse in which the spectator becomes involved and feels it as their own.

I conceive technology as a set of performative devices that transcend their technical function to become poetic agents, working as one more actor in the team. In this way the soundscape becomes an enveloping acoustic architecture that reconfigures the spatial and temporal limits of the action, while light, treated as an autonomous poetic agent, evokes emotional atmospheres, turning the stage into a shared perceptual state.

The convergence of these elements forms a scenic ecosystem that unfolds a poetics of its own, generating in the spectator a space of multiple and shifting signifiers and meanings.

This is, in a few words, my line of research.