Through technical work, the aim is to provide the means to prepare the dancer's body to be an "instrument", a "narrator's medium". But this is not enough.

In addition to mastering one's own body, which is achieved through the repetition of codified movements, the aim is also to cultivate and refine a growing awareness and perception of the energy of the physical body and of the subtle body, of the external and internal space.

We want to prepare not only a dancer, but a person dancing.

In respect of individual peculiarities and qualities.


The technique lesson is inspired by the principles of some of the masters of contemporary dance: K.Jooss-Leede, J. Limón, A. Nikolais, elaborated through a look, an experience and a personal search for movement.

The heating phase is divided into two parts, one on the ground and one vertically.

On the ground, mind and body are freed from tensions and blocks.

We begin to experience the relationship between breath, weight, support points, centre and periphery of the body, propulsive thrust, tension and relaxation.

We move organically to strengthen and lengthen the muscles and loosen the joints, thus preparing for the work that follows.

Vertical warming continues in a systematic way, activating all the various parts of the body.

Finally, the body is projected into space, experimenting with new dynamics and quality of movement, concluding with crossings and short choreographic compositions.


The atelier part is a special moment of research and exploration, of active and constructive communication.

We get involved.

In this phase, improvisation and perception play fundamental roles as 'tools' used both for researching movement and for refining the practice of listening to oneself and to others in relation to the stage space.

Different approaches and expressive languages are proposed (in addition to movement, also voice in the form of sound, spoken and sung text), which can be integrated from time to time, during work alone, in pairs and in groups, in order to stimulate the creative and compositional journey of each individual.

The workshop is open to anyone who has the curiosity and interest in discovering their own creativity and poetic language or who is looking for new inspiration.


The work of the lab is dedicated to the preparation of the actor's body, to stage presence, to the discovery of neutrality, which then leads to a renewed physicality of the character played.

To stimulate and train a body that senses, perceives and acts authentically and not disconnected from the text.

The laboratory consists of a physical warm-up part and a creative-expressive part designed to train and refine perception and listening to each other and to the stage space.

During the physical training, mind and body are freed of tensions and blockages.

In an organic way, muscles are strengthened and lengthened and joints are loosened.

A sense of rhythm, balance and coordination of movements are developed.

Gradually one experiences the relationship between inner and outer space. 

We move on to the creation of performance situations.

Observation and practice go hand in hand.


This type of work is for all those who wish to experiment and deepen their research as performers by integrating movement with voice work.
It is aimed at dancers, singers, actors, but also at the curious, who wish to explore the multiple creative potential of their own body and voice.

The movement-voice classes are mainly inspired by the principles of the Roy Hart medotode, which focuses on the research and relationship between sound, movement, vocal extension, emotion, through various forms of vocal expression independent of pre-established aesthetic norms.

Through a profound work, resulting from the combination of movement and exercises aimed at awakening and strengthening the parts of the body apt for breathing, the relationship between breath, sound, movement is experienced.

The voice thus emerges from a warmed-up and receptive body.


The creative dance workshop for primary school children is divided into a body preparation part (warm-up) and a creative-compositional phase.

Through play, one goes on to discover the infinite potential and possibilities of movement.

The creativity present in each child is stimulated and developed, increasing self-esteem and at the same time the sense of group and teamwork.

Children are guided to refine their sense of space, rhythm, coordination and listening not only through the use of music provided by the teacher, but also through listening to an inner rhythm.

The creative dance workshop is a process consisting of minimum12 sessions of 1h 30 each, culminating in the creation of a performance, the fruit of work done together.


The workshop is an approach to contemporary dance and dance-theatre practices for high school students.

The course comprises a minimum of 12 meetings of 2 hours each.

The objectives are manifold.
In addition to stimulating students' creativity and ability to work together, the aim is to support the development of a critical analytical spirit.
An open gaze and attention to less 'obvious' and 'obvious' things.

This path consists of several moments.

Body work:
To foster a more conscious relationship with one's own body and movement techniques.

Space-time relationship:
Projection of one's body in space in relation to one's companions, the music, the performance venue.

Creative moment:
through guided improvisation, students discover and define a personal language of movement dictated by emotions, ideas, their own experiences.

research and deepening of the performative act with other arts such as the use of voice (sound-text-singing), music, props, costumes, video projections.

Final act:
presentation of the work.

In indoor spaces: auditorium, halls, corridors, etc.

In outdoor spaces: courtyards, porticos, squares, etc.