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The door is open but I don’t enter because I don’t have the key. I find the key. The wind closed the door. I lost the key. I search for the key. While I look for the key I fall in love with the reflection of the moon in the river and I fall asleep by the side of the river.

Mythology is the door: open, closed, personal, collective; it is an access to one's own plot. Do we care about getting the keys? What do we care about? Are these processes fearless? 



Gesture. Propagation of the gesture that reaches the tree.

The tree looks at the sky; it faces the clouds; the clouds are free; my gesture is free.

I have to be brave to see the gesture that leaves me.

I am now free from my own gesture, free from myself.


Theatrical—Non-theatrical Space


Urgency affirms itself regardless of my will.

Urgency manifests itself regardless of me.

I am guided by the urgency, but I do not decide it with my brain.

I can direct it with my cognitive, social, and political skills, but urgency arises before me. 

The urgency to come into being manifests before me: I am born out of my urgency to live.

Necessity is an awareness of an urgency.



URG  rhombus-vibrates in the flesh

SS flows from inside to outside the flesh, flows on the river, leading to the awareness of the vibrating flesh.





I see identity as a flexible and relational-based dynamic. 

It’s like a network of energetic processes rather than a fixed and stable entity, a flexible and reactive constellation of connections and forces, from inside-out and outside-in. Through the orchestration of physiological, emotional, hormonal, spiritual, neuronal circuits, the Situational Self seeks adaptation.

When the artist embodies a fictional character, or when the character is the sea (why not!?) their adaptive forces are in dialogue.

To get closer to the character, the artist decenters her/himself from his/her canonical center and establishes a new homeostasis. How? Good question! I think that, depending on the very relation between artist and character, the artist’s center has to get smoother or harder, to become more superficial or move deeper in the flesh, to turn red or be transparent. The energetic paths that occur between the artist’s and character’s centers - processes of evaporation, crystallization, maintenance, mutation, contraction, pulsation - reveal how they adapt to the environment, together, not anymore as individual entities, but as the beginning of a community. From one to two.

With a certain degree of trust and abandon, this process of decentering may question the well-established dichotomy between “I and not I”: where does my skin end?

Are these processes fearless? 

I don’t know…but artists should be anyway courageous and EC(X)-centric! E(x)-centric 

(off-balance, urgency)

Orality - Vocality


When should we meet again, 

in thunder, lightning or rain?


Different levels of abstraction


Playing with a poem’s  architecture


Breaking down 


Tuffarsi a capofitto nella catarsi, espanderla, dilatarla fino a che copra il senso quotidiano che non ha senso. (ec-center)

Come sopportare l’esistenza del limite?

Come volere essere infiniti e sapere di non poter esserlo?

Sentire dentro di sé di essere infiniti.


Touching the truth doing an action which is limited (in theater)

But finding the essence




malade faible / en pleine forme

malade faible, la relation entre passif et actif a plus de présence.

il était une fois à theater haus où je me trouvais entre deux douleurs, entre celle de la dent enlevée et celle de l’os mis à nu, non protégé par la chaire.

Passage continu entre ma mâchoire et l’oreille, toute la gravité de mon corps se trouve là, le reste est une faiblesse qui l’accompagne.

L’exercice de tomber au sol, au début j’ignore cette gravité qui me gave et je tombe mal, cogne le sol.

On pousse nos limite pour découvrir ce que l’on ne connaît pas encore.

Dans l’état malade, la recherche active de la passivité est de l’ordre de la survie, sinon je me blesse.

Dans la passivité mon état malade trouve sa forme.

Actif est d’accepter l’exercice qui me met en danger.

Une partie de moi veut rester au sol, s’allonger et ne plus rien faire.

Il y a des moments où c’est vraiment ce qu’il y a de mieux à faire

Mais c’est aussi abandonner la passivité en s’abandonnant en elle, sans l’honorer, sans lui donner forme

Trop d’activité et on se blesse, on a besoin d’un médicament pour neutraliser bien vite la maladie, l’oublier bien vite et continuer à fonctionner normalement, Pour bien faire l’exercice.

Ou on se lancine dans une passivité dépressive, on s’abandonne à la faiblesse sans se relever.

Entre deux vital.


Non normal—Normal

Cette recherche pour l’état hors balance me réjouit.

En tant que groupe

Dans le contexte de la pandémie et de son influence sur notre groupe, processus similaire. Notre organisme est malade, n’a plus sa zone de confort à l’intérieur du studio. On ne peut que se réarranger, adapter et transformer. C’est nous, notre communauté qui se déséquilibre, escargot funambule on trouve nos pas.

Following recurrent patterns—Going against them

There are these well known spaces in you. These movements, these dynamics that you repeat. They are your identity, your characteristic prompt. You can develop them and take them really far. The n-exponent of you making a great impact on this world.

There are hidden worlds in you. Folded places that, once unfolded, take up an infinite space, opening up for new combinations, new emotions and creations. The lock keys to open them are difficult to find but rewarding.


The well-known is the archetype, my own mythology

Going against my own mythology and discovering new mythologies

Is my mythology universal enough? Do I want it to be universal enough?




Capability to see relations.
Capability to believe what I cannot see.
Capability to perceive my flesh as the former flesh of a fish, of the tree, of the garden, of your friend.

I was there, in the garden of your friend; do you remember my smell? And my shadow?
Accepting our lack of knowledge.



The opposition creates a gash.

The gash is a smile.


Inner forces—External Impulses


inner - outer.JPG

When nurturing your imagination and images that can activate your improvisations and creative processes you can access sources that originate completely in yourself or come from external impulses.

External impulses can be music, photos, drawings, videos, other performers, events happening in the world. These external sources constitute impulses to which we react. We take them and channel them into movement, emotions, ideas, images, stories.

Internal impulses come from your very own experience. What emotions am I feeling today? What happened to me today that makes me feel certain emotions? What stories am I creating today, where are my impulses taking me, what parts of my body move and what do I want to reach with them?

What is my target?

Gravity — Levitation / Lightness

Scanning my body. Being in alignment and not in line.

Sensing emotional gravity, lightness suddenly arrives .


Reaching upwards, reaching downwards: I can’t reach a ceiling in either direction!

Wait for weight. Is gravity already there? 

We give into gravity as if it were passing through and into the material of ourselves, pulling us down into the ground, billowing clouds quietly hissing...


The cup is not the character.


A race full of fences

where would the energy I invest on jumping and avoiding them go

if the field was clear?

It wouldn’t have to go from my flesh and bones to the external world

but towards my organs and cells

to discover new beautiful connections.

All the joy, love and sex we contain

thrown away, covering everything


Queerness 2.JPG


We are not there yet. What we aim to be is still really far, unreachable. But we can grasp reflections and prints of where we want to go. These reflections and imprints spark in our creative work. With our performative experience we imagine and project the soul of our unreachable community states.

Political sphere—Personal sphere

As performers we can reflect on the universality of the stories and experiences we are communicating and sharing with our audience. We can bring our focus on one side to our uniqueness and particularities and to the points that touch with the rest of the human kind.


It is an exploration itself to distinguish one's own particularities from the universalities.

action - inaction.JPG




Individual creation—Collective creation

When I understand that my personal urgencies are part of a bigger thing: a universal ongoing urgency that meets millions of individuals in the universe, and when I am not alone with this urgency, new channels open.

Other’s experiences enrich my work and the performative work connects with their very personal emotions and memories.

At what point do I want to create with more individuals?

At which point of my creative process do I want to open up these channels or to narrow them down?

What triggers this decision?

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