Describing commedia dell’arte is a risky and almost impossible venture. There are many theories around it, but the generally held idea is that this art had a remarkable impact on Western theatre.

I personally was searching for a form of theatre that was right for me, and commedia dell’arte became my home. It is a world that comprises mime, biomechanics, mask, voicework, listening, stage presence, improvisation, and much more. Sometimes all its structures may make it seem restricting, but the truth is, within its restrictions there is no end to what you can create.

The company who introduced me to commedia dell’arte was the one I now work with most often: Fraternal Compagnia. Massimo Macchiavelli and Tania Passarini are wonderful artists who have given me the opportunity and the space in which to explore, study, try things out, and constantly feed my hunger for commedia.

They have shared their knowledge with me, and of course there is a whole world of things that I am still getting to know.

I had my commedia dell’arte debut in Bologna on May 24th, 2014, when I performed the “Fame dello Zanni” (the “Zanni’s hunger”), a canovaccio, or scenario popularized by Dario Fo.

Thanks to Fraternal Compagnia I have participated in numerous international events: festivals, tours, conferences, etc.), I have met masters such as Boso, Bogdanov, Bongiovanni, Avner Eisenberg, Tessari, De Marinis, and Marino, among others.

Since 2013, every commedia show and workshop I teach or perform in, I do it with the logo of Fraternal Compagnia, Arlecchino, on my heart.


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