ABOUT

creative practice & Artistic vision

I am drawn to stories that speak not of the individual but of the universal. I see theatre as a place where characters transcend the personal to become archetypes, masks through which the shared human condition can be revealed. I am interested in emotional states, themes and ideals that unite us.

I often abstract and decontextualise narrative to access what is eternal, making classical texts and operas resonate not through period realism, but through their symbolic and subconscious power. I explore the dreamlike, the surreal, the mythic: images and sensations that linger beyond logic and invite the audience to project their own humanity onto the stage.

Art, to me, is not imitation of the real world but a metaphor, or rather an hyperbole: an intensified mirror of our collective subconscious. Movement becomes the visual manifestation of music, its geometry and textures shaping the physical language. Characters emerge from internal impulse and live in a heightened artistic reality that changes with each world, score and collaboration.

My approach draws on the principles of a revisited Commedia dell’Arte: not through aesthetic reproduction, but through its deep study of human archetypes. This methodology opens gateways to timeless meaning, theatre that is always contemporary because it speaks to what in us never changes.

My Background

My artistic practice is grounded in a multidisciplinary education. I have always believed that different stories require different mediums to be told: poetry, music, dance, theatre and film are each narrative tools and in varying degrees, they all inhabit my work. This conviction led me to study these forms not in isolation, but as interconnected languages of expression.

My interest in popular and social dances began very early. I grew up dancing with my parents and travelling across Europe as part of a folkloric choir, sharing the southern Italian musical and dance tradition while learning the traditional dances of other cultures. This early exposure to the diversity of European performance sparked a keen fascination with how movement expresses identity and belonging.

This early exposure to the multiculturality of Europe has inspired me to pursue a degree in Translation at Roma Tre University, specialising in English, Italian, French and German. Language opened a further dimension of cultural understanding that I continue to explore through European dance history and its social context.

As an undergraduate, I developed research into European court and popular dances, examining rhythmic structures, cultural hybridity, and the politics of touch as revealed in choreographic traces within literary sources.

I continued my academic journey at the University of Chichester, completing a Master’s degree in Dance Performance and Choreography. My research focused on couple dance forms, particularly the origins of Ballroom as a hybrid art, shaped by historical encounters between European, African, and North and South American traditions. This research became the conceptual foundation of EDIFICE, the company I co-direct with Harriet Waghorn, where we have pioneered the use of Ballroom principles within contemporary theatre.

I further developed my operatic directing skills through the programme offered by the Verona Academy of Opera, expanding my understanding of staging, dramaturgy and musical collaboration. I also qualified in stage combat with the British Academy of Dramatic Combat, which enriches my work in physical theatre and opera.

I received formal training in Ballroom, and at the National Academy of Dance in Rome I studied Ballet, Contemporary dance, score reading and repertoire. I have been Associate Lecturer at the University of Chichester, teaching contemporary theatre repertoire and dance technique.