| THE PATH... |

She started eighteen her professional training by attending Orazio Costa M.I.M and being selected by Vittorio Gassman and Giorgio Albertazzi to frequent their theatre workshop at “Bottega teatrale” in Florence where she then resided.
However her love for the scene goes back much earlier, when as a child, she was daily engaged in rehearsals and school choirs of a theatrical practice at schools very active at that time in Salerno, her hometown.
Even after she moved to Florence, she consciously prepared to be well equipped for her job, studying ballet with Antonietta Daviso, jazz dance with Sabina Cesaroni, contemporary with Simona Bucci and the “Graham Group” from New York, and of course through a specific cultural background she believes it essential, culminating with a degree in History of the Theatre and in Foreign Languages at the University of Florence.
But her study and research continues steadily over years, on voice and sound with Gabriella Bartolomei, on anthropology and theatrical investigations of Eugenio Barba, Jerzy Grotowski (who did not admit her in Pontedera for age-limit), on philosophy, physics, history of religions, and especially on music, studying first at C.A.M. in Florence and then exhibiting in ethnic and international repertoire in Florence and Rome, where she settled permanently in 1993.
Her figure is Rhythm, and her key. As an interpreter she has increasingly been pursuing Moussorsgskij objective “The sounds of human language to become music”, aiming to overcome the barriers imposed by national languages and trying to create a shared, international code which is neither prose, or dance, nor music only.
Between tradition and innovation, in the years she has alternated her acting for the circuit in the classical repertoire alongside leading figures of the Italian scene as Vittorio Gassman, G. Albertazzi, E. Montesano, A. Benvenuti A. Innocenti, I. Monti, N. Mascia, some experience of cine-television and frequent collaborations with off-companies promoting italian and foreign contemporary drama, (the three-year activities at the Teatro Studio in Scandicci with the resident company Occupazioni Farsesche), with Ruinart and Pupi e Fresedde of Florence, Teatro Garage of Genoa, Teatro Politecnico in Rome, and with the Institute of Philosophical Studies in Naples, teaching and making workshops and working as speaker for the Chamber of Deputes, refusing roles and activities prejudicial to her dignity as artist and person, as well as woman.
She rejects immobility and stereotypes in roles and repertoires “a la page” and rather opens to collaboration with foreign musicians and dancers in line with her feeling (Alarmel Vallì and Sanjay Kansa Banik from india, Wahi Vieux, Jean Louis Degré, Alain Frank Nahi from Ivory Coast, Vincent Harisdo from Benin, Ady Thioune, Sakù Kandè and Keba Seck from Senegal, Patrick Ouedraogò and Brahima Dembele from Burkina Faso, Mestre Cabeça or Santos Souza de Jesus Jefferson from Brazil).
Fascinated as she is by rhythmic variations, while the West has prejudicially sacrificed it to the development of melody and harmony, by the extreme energy and naturalness left intact in these cultures, she has begun studying afro dance and drumming and their variants in the South American continent, at same time interacting with her own culture signs and styles.

Languages, customs, tonal and modal systems may vary and distance ourselves, but Rhythm belongs to everyone, to our body as to the entire Universe.