Choreography & Movement Direction
Artistic Research & Somatic Practices
My work moves between theatre, dance and choreography. I create choreographic works and develop movement dramaturgies for the stage, collaborating with performers, actors and directors to explore the expressive and transformative potential of the body.
Alongside my artistic practice, I pursue embodied research into movement, perception and presence, and lead workshops in somatic practices and movement exploration.
Choreography & Movement Direction
I create choreographic works and develop movement dramaturgies for theatre and performance. Working with actors, dancers and directors, I explore the expressive potential of the body and the role of movement in shaping stage action, relationships and dramaturgy.
Research & Somatic Practices
My artistic and pedagogical research explores the body as a site of perception, embodied knowledge and transformatiMy artistic and pedagogical research investigates movement and perception, exploring the body as a site of embodied knowledge and as a stage in its own right.Drawing on somatic practices, Kashmir Yoga and theatre anthropology, I explore how attention, sensory perception, physical impulses and the organisation of movement shape the body's presence in space and its capacity to become expressive.My work moves between stillness and action, bodily experience and scenic composition, connecting somatic inquiry with the dramaturgical and performative potential of the body.
Selected Works
selection of choreographic works, theatre and dance performances, and movement-based creations developed through artistic collaborations
The Gesture of Presence – Body, Stage, Listening
On stage, it’s not about doing it well.
It’s not even about doing something.
It’s about being.
As Ci Chapeu says: Il s’agit d’être.
What does it mean to “be” on stage? It’s not a mental state. It’s not a style. It’s the absence of strategy. Then, the stage becomes a space of resonance. The body no longer seeks effect, but allows itself to be touched by what happens. Nothing needs to be corrected: not the tension, not the emptiness, not the discomfort. The trembling is dance. The hesitation is truth. The mistake is already presence. In theatre and dance, we often try to express, to communicate something. But in that effort, the body tightens, the mind takes over, and the life of the gesture disappears. The gesture of presence is not something you “do” – it happens when control dissolves. On stage or in the studio, this becomes something very concrete:Be in the body, not in the head. Don’t think “I need to move like this” – let the form emerge from inner sensation.Feel before acting. Before every movement, there is a pause, a silence: from that silence, real presence is born.Don’t anticipate. In dance, in physical theatre, in subtle gesture: true presence can only arise when you’re not trying to “get somewhere.” Welcome vulnerability. The trembling body, the hesitant voice, the silence before the line – all of it is already performance. It doesn’t need to be fixed; it needs to be inhabited and it will change. Listen with your whole body. To your partner, the space, the light, the rhythm of breath... the gesture of presence is the art of being touched by what’s here, without commentary.
Foto Credits: Daniel Nartschick