© Manlio Della Marina
Born in 1980 in Italy, in 2004 he finished his MA studies in Foreign Languages and Literature at the University of Padua. He started studying dance in Padua with C. Di Napoli. In 2006, he was invited to join the Rotterdam Dance Academy (Codarts) where in 2008 he obtained a BA of Dance. Between 2007 and 2008 he was awarded the prestigious scholarship of the Pierino Ambrosoli Foundation. After graduating he worked for two years for De Stilte Dance Company (The Netherlands). Looking for different experiences and inspiration, he decided to start working as a freelancer dancer.In his career he had the opportunity to dance in choreographies by W. Forsythe, N. Duato, B. Caverna, G. Maiorino, T. Stuart, J. Lunn, W. Lu, O. Maciejewska, M. Schumacher, D. Paiva, J. Timmermans, S. Van der Put, D. Desnoyes, S. Gillen, M. Bucar, K. Brandstrup, G. Stkrela, K. Rosenberg, N. Horecna and many others. He’s worked in productions directed by directors such as Audi, Alden, Kosky, Pelly, Carsen, Olle’, Loy. In 2012, he worked as assistant director for Simon Mcburney’s production of the Magic Flute by Mozart at the Dutch NAtional Opera and Ballet.
He dances for istitutions such as Theater L/V, Korzo Theater, ITS Festival, Lucent Danstheater, Rotterdamse Schouwburg, De Musiektheater.
In 2005 he started teaching for Laboratorio Internazionale della Comunicazione together with M. Eugenia Demeglio.
In 2012 he brings his solo What then if about to the performance festival Lucky Trimmer in Berlin.
He teaches modern dance and improvisation in Kracow, Padua, Rotterdam, Florence and Gemona del Friuli. In 2012 he started his collaboration with De Nationale Opera Academy in Amsterdam as a movement teacher.
The class:
The class is based on the idea of pushing the air and the surface, while moving smoothly on the floor, giving in the weight and relaxing the body on the floor. The aim of combining these different elements is to focus on body/mind awareness, breath control and energy. The class in divided into two parts. The warm-up part is on the floor and focuses on the idea of flying low in connection to the floor, shifting of the weight and familiarity with the floor to create soft movement. The second part tries to transfer the same concept when moving standing up. The dancers are free to move on the music, to find their own connection with sound and rhythm.