Alessio Maria Romano

In 2016 Alessio Maria Romano, driven by the need to deepen his pedagogical and performative research on movement, gathers some colleagues and former students in a continuous exchange and study, in search of the infinite laws that regulate human movement.

He thus decided to create a place and time for gathering and studying. Far from a precise definition of category and specific circle, Romano, like many others, tries to resist and carry on with calm and patience his own “idea of research” and therefore of performative gesture.

From pedagogy to scenic creation, where the passage between the two realities is always necessary and unavoidable, Romano’s creations and interventions are different in number of participants and themes and concern the encounter with the other and the physical, spatial and emotional relationships that are thus created”.

photo by Andrea Macchia

No where to be found” is the first project, started with a study residence for abandoned spots in Sicily. Devised to be a trilogy, only the first part has been realised to date.
Dispersi“, for 4 men, made its debut at the LAC in Lugano (CH) in February 2016. Afterwards, Alessio Maria Romano won the competition “PERMUTAZIONI 2017” and became a resident artist for a year at “CASA LUFT” of Zerogrammi Ensamble, where he completed the work “Choròs” (begun with the students of the L. Ronconi Drama School at the Piccolo Teatro in Milan), a creation for 16 actors/dancers and a musician, which premiered at the Piccolo Teatro in Milan and at the LAC Theatre in Lugano in 2018.
The same project was also shown in Lavanderia a Vapore in Turin adding, after a workshop on the theme of chorality and crowd, 22 more actors/dancers for a total of 38 performers.
Also in 2018 he built the solo “Avida Dollars” for the Teatro Gerolamo in Milan.
AMR is invited to hold a masterclass at the college of the 2018 Venice Biennale theater together with Francesco Manetti with whom he directed the performance “KISS”. 
In September 2019 he creates 45 minutes of a ballet sequence within the opera “Fernando Cortez” of the Maggio Fiorentino with the young dancers of the Nuovo Balletto di Toscana.

“We are researchers lost in confusion. We observe, we ask questions, we formulate hypotheses but we do not demonstrate theories. We are men and women, sometimes dancers, in search of those laws, each time different, that regulate our way of "moving and feeling the body, space, time, the other". From our encounter - in this difficult and contradictory present - sprung the desire to tell, to resist and therefore "wish”, whether through dance or theatre.

Alessio Maria Romano

immagine per Alessio Maria Romano

Born in 1979, Palermo.
He graduated as an actor from the performing arts school Scuola del Teatro Stabile di Torino in 2000, after which he continued studying, taking a diploma in “Laban/Bartenieff Movement Analysis” in New York and Brighton. Among his teachers are Luca Ronconi, Maria Consagra and Raffaella Giordano, with whom he studied “writing for contemporary dance.” He taught scenic movement at the “L. Ronconi” school in Milan’s Teatro Piccolo. 
He was educational coordinator at the performing arts school Scuola del Teatro Stabile di Torino from 2008 to 2021, now is an educational coordinator at the “L. Ronconi” school in Milan’s Teatro Piccolo. As curator of scenic movement and choreography, he worked with: Luca Ronconi, Carmelo Rifici, Valter Malosti, Andrea De Rosa, Daniele Salvo, Sonia Bergamasco, Declan Donnelan and Jacopo Gassman.
He won the Critics’ Award as pedagogue and choreographer for theatre in 2015.
In 2020 he received the Silver Lion Award from the Biennale Theatre.

A.M.R. is a multigenerational company, a meeting between presumed teachers and presumed students. I am interested in bodies that are simultaneously frail and strong. Bodies that can communicate through simple actions, memories and words. Bodies that aren’t pigeonholed within a single artistic category. Bodies “trained/felt and prepared to experience a personal dance.” Hypotheses and reflections manifest as perennial doubts and certainties. I start with observations and field research, and so with continuous “meetings.” I feel the need to observe, ask questions, choose and ask to choose. A political gesture to reclaim the body’s right to exist for what it is: a human body. I work on the perception of “us” over the self-centred power of the “self.” How can one do this today, among all these gurus and methods? In the midst of today’s mediatic mayhem and information overload, I propose returning to a simple tale, whatever that might be, and trying to understand how it can be made into movement/dance and, as such, into a dream language for the stage.


Filippo Porro, Isacco Venturini ed Eleonora Cotugno