“The general idea from which I started off was researching, through choreographic development, the atmosphere present in different rituals and cults that all kinds of ethnic groups have celebrated throughout history. That intriguing, solemn, tense, heavy atmosphere does sometimes transmit, somehow, a taste of danger."
However, my work system does not emerge from structures that are excessively prearranged. I am interested in a research process in which the individual talent of every performer is boosted as much as possible. This choreographic process starts exactly at the moment when my last work finished. My own development and that of my line of creation are important, and that is why I generally start from what I consider to be the best discovery of my previous choreography.
Cult Race is an abstract ballet that does not pretend to tell a story. I try not to start from educationally-acquired models but, rather, to search for my own way without being limited by references to other artists. I need to experiment with dancers, to search…; discoveries can be very surprising. My philosophy, in this research, is very open. I compare many times the complexity I try to transmit with that which I can observe in nature. This is not chaos, but an interwoven network with a meaning that can be explained without using mathematical systems.
I try to get fourteen dancers to fully grow in their individuality but, at the same time, to form part of a single body. I believe that dancing sometimes draws on already created formulae that form part of a previous heritage. If spectators get used to always reading the same statement, something complex becomes chaotic and they reject it. We are not ready to accept the proposals of a new language. This change has taken place in other disciplines, such as audio-visual and plastic arts, which have acquired other registers that the public has been able to assimilate. In dancing, references to structures and past models must be overcome by looking for new and original solutions. We may not be able to achieve it but, at least, we would have been freely and honestly working in search of them”.
Nacido en Roma, estudió órgano, composición y música electrónica. Ha ganado varias competiciones y premios internacionales y sus composiciones han sido escuchadas en numerosos festivales de música contemporánea y electrónica de Italia, España, Francia, Alemania, Irlanda, Holanda, Argentina, USA y otros países.
Ha compuesto música de cámara y orquestal, electrónica, de ordenador y música que combina instrumentos electroacústicos y tradicionales acústicos.
Trabajó sobre música para teatro desde 1988 y comenzó a componer para danza con el coreógrafo Luciano Padovani en 1986. En 2000 compuso la música para la coreografía Insert/Incert de Carlos Iturrioz (Festival Grec de Barcelona).
Desde 1999 ha colaborado con el coreógrafo Jacopo Godani en Zero Point Energy (Staatstheater Karslruhe), Digital Secrets y Twilight Arias (Goteborgs Opera House), Aeon’s run (Royal Ballet de Londres), Kid Dinamo (Ballet Frankfurt) y Animal Trigger (NDT2, La Haya).