Doriana Crema
tutor 2021, 2022

Category: 2021

Doriana Crema

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Danzatrice, coreografa, formatrice e counselor, è da oltre 30 anni attiva in ambito artistico e pedagogico. Unisce le proprie competenze in direzione di una visione evolutiva dell’essere umano. Al centro della sua ricerca, lo spazio e l’umano, nel complesso rapporto con il corpo, la presenza (non soltanto scenica) e il movimento. Negli ultimi anni ha posto il proprio focus sulla questione della risonanza e della risposta, lavorando sulla linea di confine tra danzatore e spettatore. Tra gli incontri più significativi dal punto di vista formativo, si annoverano quelli con Anna Sagna per il teatro-danza, con Raffaella Giordano (per la quale è interprete degli spettacoli Quore, premio UBU 2000, e Senza Titolo), con Claude Coldy per la danza sensibile e con Danio Manfredini per il teatro. Accompagna nel proprio processo creativo numerose compagnie e artisti singoli, in Italia e in Francia. Conduce da oltre 3 decenni laboratori nelle scuole di ogni ordine e grado: attualmente è attiva nelle scuole superiori all’interno del progetto Educare alla Bellezza | Media Dance di Lavanderia a Vapore, come formatrice e coordinatrice, con gruppi-classe e gruppi-insegnanti. Cura inoltre il progetto Solitudo. Visioni per una comunità creativa insieme a Raffaella Tommellini e Fabio Castello. Insieme a Rita Fabris è ideatrice e formatrice del Percorso Danzatori di Comunità. Collabora come formatrice all’interno del progetto Tracce lasciate ad Arte di Interreg Italia Svizzera e al progetto Educatori Senza Frontiera di Exodus. È coreografa del gruppo Eskenè, per i progetti La Passione secondo Matteo, Stazionando, e Progetto 900. Realizza gli assoli mama non mama, Specifiche Atipie e Dichiarazione d’amore all’interno del festival La Piattaforma di Torino. Pratica il counseling ed è formatrice presso la Scuola Superiore di Counseling.

Doriana Crema is with us in: Edizione 2021, Edizione 2022,

Workspace Ricerca X – Research and Dramaturgy is back in 2021 with the program The ever practicing artist, renewing its commitment, witnessed by its six years of activity, to the emergence and consolidation of an artistic research culture in Italy.

For this year we place artistic practices at the centre of our reflections, animated by the desire of contemplating the plurality of approaches to work already existing on our territory and deepening the dialogue with the emerging singularities. Well aware of the multiplicity of possible declinations , we are not looking for a definition of what an artistic practice is, rather we are seeking  the coexistence and dialogue of different points of view on artistic practice as a responsive and vital matter. We think about practice as a flexible tool to observe and specify one’s field of interest, as self-generative and generative of a kind of knowledge that becomes sharable. Through these reflections and questions, a complex research environment can be activated: a place of sharing, of proximity and circulation of practices, people, materials and discourses, from where knowledge and other meanings can emerge.

The reflection on practices in the field of artistic research allows us to specify once again the necessity of balancing out theory and praxis, while continuing to  further discuss the relationship with the broader context, specifically  with academic research. Premises, methodologies, evaluation and validation parameters  are just some of the aspects regarding which artistic research specifies its own alterity and complementarity in relation to other fields of knowledge, particularly to  scientific research.
Regarding the question of what are the possible places for research, in a panorama that includes institutional contexts and independent projects, our intention is to situate ourselves in the emerging space of an “ek-stitution”(*), as an actor both complicit and critical towards the institution. A place for research based on the multiplicity, layering and complexity of practices and practitioners, formats and thinking materials, discourses and intelligent corporealities. As opposed to individual orbits and aims towards excellence, we observe the necessity to highlight  the multitude of possible declinations. And therefore therefore  bringing to light the plurality of existing facets and approaches and to give them space, visibility and tools to advance in the process.
In this respect, we mention the “Vienna Declaration on Artistic Research”, published in June 2020 by several European organizations for higher art education and artistic research (cultureactioneurope.org/news/vienna-declaration-on-artistic-research), representing representing  the first international policy document on artistic research. In light of this document, where some big European institutions dictate policy-making guidelines in a  top-down direction, it becomes even  more important to work in the opposite way. Trying to cover a different and necessary path, with the awareness that here too lies the sense of an ek-stitution.

For six years, Workspace Ricerca X has been working for  supporting, enhancing and developing artistic research in the field of contemporary dance in Italy, through residency sessions shared between dance artists who are asked to continuously shift their roles, from participant, to observer, to collaborator.
In continuity with the previous editions, we will propose to the working team, made up of artists, choreographers, dancers and educators, a non-neutral residency format. An horizontal dimension of peer-coaching will be the place where to deepen one’s own artistic trajectory, through an intense and reflective dialogical mode between the participants, starting from each one’s practices, materials, research methodologies.

The program The ever practicing artist will be developed through two research residencies in June and September 2021, a series of open workshops, together with other events and public openings throughout 2021. The program is curated by Workspace Ricerca X in collaboration with Lavanderia a Vapore in Collegno – centre for experimental contemporary creation.

Workspace Ricerca X is a project created by Ass. StandOrt Performing Arts, supported by ​Fondazione Piemonte dal Vivo​ within the frame of the activities of ​Lavanderia a Vapore / Residency centre for dance and EDN network dancehouse.

* Florian Schneider, ‘(Extended) Footnotes on Education,’ e-flux Journal 14, 2010

Francesca Saraullo

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POOL LIKE PISCINA is an artistic practice born in continuity with “Archaeology of gesture”, a research project based on personal and archaic memories emerging from the pelvic core as a political act of reconnection to the matrix of the body and to the being who dances. With POOL LIKE PISCINA, I want to develop this study along three axes: archaic-body; animal-body; channel-body. The common intention is to stay in a time of subtle listening to let the body open perceptively and consciously to the impalpable that flows through me and the other in a continuous dialogue between past-present-future, by transforming the gesture into a sound and dancing vibration. Working on passive vigilance, activating a state of receptive presence, combining some somatic and energetic practices, I would like to translate this introspective and trans- identity process into a possible choreographic composition where the intimate merges into the whole and the individual breathes into the collective.

FRANCESCA SARAULLO (1984) is a multidisciplinary artist, Brussels-based choreographer, dancer-performer, video-maker and independent researcher. Saraullo graduated in Choreographic and Visual Arts at the Royal Academy of Fine Arts in Brussels (ISAC/AeSP) after her studies in Multimedia and Performing Arts in Turin, Italy where she had prior attained her degree in Cinema and Media Engineering. Intensively trained in dance and theatre by international masters in France, Italy, Belgium and Austria (“Fondation Royaumont”, “College-Dance Venezia”, “ImPulsTanz-Vienna International Dance Festival”), she continues to advance her education in somatic and energetic practices (sensitive dance®, fasciapulsology, qi gong). From 2013 she has been producing her own choreographic works (ANAMNESIS, LUX, Et toi…, La Sospesa) and visual compositions (W., RACCOLTO, Moulbaix Dr., Ballerina, MiNunn) presented in various international festivals/museums/theatres. For 2020-2021 she received a grant from Charleroi Danse to support her research onto the “Archaeology of gesture”. Francesca collaborates with a variety of artists.​

Francesca Saraullo is with us in: Edizione 2015-16, Edizione 2021,

Marta Olivieri

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2017 > 17 and 2021 edition

Trespass | processing an emerging choreography, wishes to open a space and time to contemplation. It fits into the research between the visible and the invisible and integrates the work of S.U.D.M.U.P. It wants to investigate the multiplication of the gaze and the emergence of a body, through absorption and restitution.
It uses coincidence but does not exclude discrepancy.
Two performers inhabit the space, observing the surroundings with the aim of returning an interpretation of it, generated by the encounter between the “me” and the context.
There is no division between audience and performer.
The observer, furthermore, can cross and modify the space by moving his point of view.

The structure of the work allows its continuous writing, presenting a new genre of emergence with each reproduction, as a consequence of the specific inhabited space.

Marta Olivieri is author and performer. Her artistic interests want to question the unforeseen contestaul datas that move a body. Writings, sounds, temperatures and the city landscape are the areas of her research.
The body moves between the visible and the invisible attempting a continuous happening on the sides of the structure it inhabits. The creative process wants to build a ground for a formal structure and its possible deconstruction to coexist. She attends Formazione Bartolomei Training and Modem courses at Scenario Pubblico. In 2015 she met Marta Ciappina, performer, movement coach and teacher, with whom she started an assiduous path of study.
She also studied with: M. Kejzar, M. Kilvady, G. Scarcella, J. Neves, A. Cristiani, E. Giannotti, M. Rizzo, C Delorenzi, E. Gervasi,A. Ajmone, C. Morganti, K. Takagi. In 2018 she graduated as a Somatic Movement Educator within the Body-Mind Centering®️ training program. During the same year she conducted somatic and compositional research workshops at Scenario Pubblico. She works as an interpreter for DOM-, she worked with Riccardo Guratti and Michele Rizzo. From 2019 she participates in the Roma Non Esiste project (DOM-) and is curatorial member of SiR. She collaborates as well with ATI Suffix, a collective of architects, artists, philosophers and researchers, whose work is intertwined with architecture and relational art. Besides, she collaborates with Roberta Mansueto | Takecare project.

Marta Olivieri is with us in: Edizione 2016-17, Edizione 2021,

Michela Depetris

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TRANSFARAOKE (daffodils are 50% human) -> ballo mutante telepaticX is a project in progress. It is a hybrid performance that travels between karaoke, possession ritual, party, video and other things that are not yet well defined. It is a reflection on the connection between various realities (human, animal, vegetal, mineral, bacterial, extraterrestrial, technological, material, immaterial, telepathic, dreamlike) that compose the vibrating matter in which we are immersed and of which we form part, perceiving material not as something that separates and distinguishes things, but as something allowing their meeting and mixing. This research stems from my interest in contemporary rituals of encounter and from a fascination with the idea of ​​transformation. I start from the assumption that bodies are social flesh, active matter in relation to other matter that is constantly evolving, and that, therefore, there is no position outside nature. I explore formulas (magical? scientific? chemical?) to escape the trap of binary thinking and that make bodies permeable, contaminated and contaminating, porous, multi-species. I wrote: “I have dreamed of being an alien and of organizing popular karaoke on planet Earth, at-home parties to stir pupils, vocal cords, asses, legs, leaves, consciences. I have written texts full of banality into which I poured alien intelligence that entered humanity from the screen, effortlessly accompanying it so it can touch another dimension.”

She studied dance, performance practices and visual arts in Italy and Spain, crossing and meeting the work of many different artists such as La Ribot, Vera Mantero, Elena Cordoba, Olga Mesa, Xavier Leroy, Paz Rojo, Camille Hanson, Ester Ferrer, Juan Loriente, Matar Zamir, Silvia Calderoni/Ilenia Caleo, Claude Coldy, Raffaella Giordano, Doriana Crema, Giorgio Rossi, Motus, Marigia Maggipinto, Kinkaleri, Cesare Petroiusti, Matthew Barney. She works at the crossroads of performance, choreography and visual arts, often using music, sound/voice and videos as media to connect, touch and involve the audience. She investigates the ideas of transformation, ritual, natural and artificial, visible and invisible, exploring the connection between intimacy, gaze/vision, perception and vulnerability, using images and sometimes words, trying to re-create and discuss our complex approach to the present/future/past from a feminist/transfeminist/queer perspective. Her research is often playful, humorous, chaotic, mysterious, hybrid and poetic, tapping into the complexity of the present and trying to find an escape from anthropocentrism.
*She would like to be a mushroom, a frog, a chemical producing visions*.

Michela Depetris is with us in: Edizione 2021,

Valerie Tameu

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The A Thousand Ways to Fall project investigates the possibility of relating the body to its reflection, trying to make evident the residue of this liminal area.
The research passes through the study of the constitutive heterogeneity of the “body of the fall”, meaning the body in its double polarity, that is both as a physical object that undergoes the action of gravity, and as a social subject that deals with the inevitability of its condition by creating narratives, images, ways of existing/resisting.
Therefore, we refer to a physical and cultural body at the same time: the transgressive body, the pain-body, the female body, the body of love.
The fall, in one of its translations, represents the sign of punishment and finds a link with the concept of exceeding the limit and transgression of the norm.
The construction of the practice, which is intended to be both a custom and a unique event, has two key points. The first concerns the search for a poetic and non-imperative language, able to support the complexity that is needed to feed the imagination of the practitioners and to color the landscapes in which they move.
The second considers the investigation of the new-born body, i.e., an hyperbody that, after the first fall of birth, finds itself immersed in the extreme materiality of being exposed to the world and the discovery of its weight in a hyper-bodily experience.

Dancer and dance maker,
through a procedure of “affective mapping”, she loves to compose bodies and ideas to create landscapes made of relationships, associations and emotional geographies. In 2013/2014 she participated in the training course MoDem of Compagnia Zappalà Danza, in Catania. In 2017/2018 she graduated in DAMS, at the University of Turin, with a thesis in history of dance.
Furthermore, her view owes much to the encounter with the work of Lorenzo Bodi, Francesca Cinalli, Loris Petrillo, Anton Lachky, Marco d’Avenia, Daniela Paci, Doriana Crema, Gabriella Maiorino, Daniele Ninarello, Marta Ciappina, Chiara Bersani, Motus.
She collaborated with various shows and performance projects of Compagnia Tecnologia Filosofica, Balletto Teatro di Torino, Raffaele Irace, Laurent Pellisier, Paolo Armao, Masbedo, Alessio Maria Romano. Together with Teresa Noronha Feio and Annalisa Cannito, she is an author of Cronòtopia, winner of the tender Officin&Ideali-Residenze in transito 2019 and of A Thousand Ways to Fall.

Valerie Tameu is with us in: Edizione 2021,
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