“Time is out of joint. O cursed spite. That ever I was born set it right.”

When I teach

I work with people who are bigger than themselves and want to learn how to express their inner feelings with bodies and soul. They don’t accept to be only one, and they need to be more, to be good and evil, old and young, man and woman, to deeply be themselves.

I studied classic ballet and contemporary dance for most of my life. When I was 20 I’ve studied contact improvisation for the first time and I suddenly understood that that kind of slow movements could help everyone to understand better his own body.

Every teacher in theatre has its own way of teaching: mine starts with bodies to reach souls and voices.

Working with children is easier to start from bodies: with young people and adult is not so easy. They have barriers, physical and psychological limits that I respect. We work on them, overcome them, use them as a starting point.

After that we start walking on the street Great Artists showed us, looking for their footprints… Stanislavskij, Grotowski, Vachtangov, Cechov, Vassiliev, Brook…

When I write

I create a new little world through which I try to understand the bigger one. Little stories lived by little characters worried by the Big World. I express my doubts in my plays, to show maybe a different way of seeing the Truth. Or Truths.

I write theatre texts since I was 22. I began writing texts for children, adapting tales and popular stories, then I started to write texts for adults.

My plays are about the conflict between inner feelings and everyday life alienation, between “oddity” and “normal life”.

I write about gender themes, migration, travels, human relationships, love affairs.I write little stories about little people: in this way I try to speak to everyone.

When I direct

I try to add silence to actors’ voices, and pauses to their movements to express thoughts and ideas and make them well shaped, not flat and easy to accept.