Dancing Plague

Landscaping

Reorienting The Fall

Bare Time

The performative role of Jewelry

Body DROP - Event

Bodies in Between: Elisa Zuppini's Disambiguation

A REVIEW BY FLORIAN HELLWIG

Florian Hellwig is a dramaturge, university lecturer and writer.

*Disambiguation* at Frascati Theatre, 21st May 2025, Photo by Thiemi Higashi

The performance Disambiguation by choreographer Elisa Zuppini is one of my favourite theatre moments of the recent season. There are theatre events that leave you with a special feeling and continue to resonate, even days and weeks after seeing the performance, perhaps even for a longer period of time. It is comparable to being in love, with butterflies in your stomach, with the feeling after a happy surprise. You feel in a different state of being or much more in a stage of somewhere in between: Between the reality of the performance and the everyday before and after visiting the performance. Something keeps vibrating and moving, longing for something that is already over. Like our childhood is irrevocably over at a certain point, but the inner child in us can continue to wonder.

The repetitive movements and actions of the fifteen dancers from Disambiguation continue to reverberate in your own body like an echo. Bodies bounce in a liminal state. The performers tack in the tension between individualization and depersonalization, between the individual and the other and others. They float between 'alone together' and ‘together alone', between a singular and collective identity, between heterogeneity and homogeneity, between lostness and intertwining.

The performance makes tangible various forms of physical connectedness and disconnection, the interaction of one's own body with that of others, the individual and the collective body, the body between subject and object, between part and whole, between past and present, and also between performer and audience. As a spectator you do not only look at the phenomenal bodies of the dancers but you are aware of your own body, of how you sensually perceive what appears in space before you and how it appears: bodies in search of physicality. Are these bodies trying to return to a condition and identity they once had or are they already trying out a new physicality and writing a new identity? Are these bodies an expression of a certain norm and normativity or are they actually eroding it through repetition? Do they confirm a certain status and state of being or are they actually freeing themselves from it? What are the boundaries of a body? Where does a subject begin or end?

The performance begins in the empty space of Theater Frascati. Apart from a grey dance floor on the flat floor of the hall, there is nothing else. The side and back walls that border the stage are clearly visible. There is no decor or set pieces. Bright white light illuminates the room (the light is so bright that it appears as if the floor is white). The performers enter through the same entrance as the audience, in black clothing, black crocs, with white nails and a shiny layer on their faces, and walk to a position to the left or right of the stage, just in front of the stands. They group themselves in two formations of seven and eight dancers respectively, who stand apart from each other and look at the stage, with their backs to the audience. The performers and the audience both look in the same direction, at the empty space that lies before them like a white canvas, waiting for the first brushstrokes. The audience looks over the shoulders of the dancers, who bounce into space one by one, alternately from one formation or another in a diagonal. The dancers are like black ink on the canvas.

According to theatre maker and theatre reformer Peter Brook, you can call any empty space a bare stage. As soon as a person walks through this space and another person looks at the person who is walking, it is an act. In Disambiguation, the performers walk and write space with their bodies and movements through the physical theatre space of Frascati during the performance, thereby evoking various fictional spaces; it is live scenography. These fictional spaces are actually more mental spaces than explicitly referred to locations. These imaginary spaces are not constituted by physical props but only by the repetitive movements, and are never physically visible. As a spectator, you therefore always see the empty space on the bare stage next to the fictional spaces. The bodies are continuously in a liminal status between the physical and fictional spatial reality, between an actual location and one or more virtual places.

It is not clear who these bodies are and in what kind of state they are, between all possible identities and identitylessness. These bodies are mainly phenomenological, the bodies of the dancers themselves. The presented bodies are not representative bodies, also when these bodies carry a (hidden) history with them and this history becomes palpable. The movements refer to post-clubbing, the after-party trembling, a Bacchanal without Bacchus, and without Eros. The bodies are initially isolated, locked up or withdrawn in imaginary micro-spaces, and increasingly ‘on line’, when they walk diagonally and straight through space in lines. The patterns resemble social frameworks, which are first confirmed and later destabilized by the repetition of movements: Bouncing as an expression of fluidity.

The dancers move from an individual and isolated space seemingly to a more collective space. They alternate between being 'on' and 'off', between being together in one space and falling apart again. There is no physical contact. The other, the mirror image, Eros, remain at a distance.

The bodies, movement and physical actions create a presentational and fictional space. These two spaces oscillate back and forth throughout the performance, between theatre and club, between the real and the imaginary, the concrete and the complex, the layered and the attempts at simplification. The focus is on actuality, that everything that happens at that moment happens, in the reality of performers and spectators. The performers navigate in a twilight zone between hyperactivity and fatigue, between stimulation and overstimulation, between insomnia and sleep, between memory and possibility. The attention is mainly on the materiality of the body, on the dissociative state, on transgression and transformation. The trudging movements seem to be a reaction to something that has happened before, or serve as a preparation for something that has yet to happen. It is not dramatic theatre. The drama is contained in the bodies and their movements, in the tension between subject and object, in the world in which the bodies are bouncing, between the human and the non-human, between the mechanical and the animal. The phenomenal bodies are first and foremost subjects, at the same time they are anonymised and objectified by the clothing and the mechanical movements.

Given the duality and contradictions of the movements and what the bodies do or do not bring about, the title of the performance can also be read as a desire. The desire to make everything clearer in an increasingly difficult to read world of digital bytes and myths. What is the body in a rational and technological world? What is the status of our intuition and instincts? How do humans make contact with themselves and others when more and more of the body is fragmented or automated? Has the connectivity of the Internet brought us more or less connection and communication? Perhaps both are true. There is a lot of data traffic, but our overall existence has become more fragmented. We can seemingly be in multiple places at once and are increasingly disconnected from our own bodies.

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In the beginning, the gazes are introverted or endless. Because the dancers initially do not make eye contact or contact with the auditorium, with the people watching them, the audience initially has the role of voyeur. This role does change during the performance, as the relationship between the dancers and each other develops. The spectator becomes a witness to the fragmented individual movements of the dancers, of their jolts and falls, how they sink to the ground, pull themselves up again and seemingly start again. Limbs such as hands, arms, feet, shoulders tremble and make the whole body vibrate, between robotics and primates, between algorithm and instincts. The bodies flow through space in a play of diagonals and long lines, without the dancers making contact with each other. Their gazes are not directed at anything or are turned inward. No emotion can be read from the eyes, facial expressions or gestures. When the more or less identical movements of the fifteen bodies come together towards the end to a common movement forward, towards the stands, towards the audience, the spectators are observed. Our mirror images are now looking at us.

Through the performative nature of Disambiguation, the audience becomes aware of their own body and their sensory perception and experience of what happens in the shared space. As a spectator, you not only look at moving bodies but also become aware of your own body and physicality, and how you as an audience look at the bodies of others. Through performativity, social and cultural norms are confirmed or questioned. According to Judith Butler, all our actions are influenced by an ideological framework, including acts of resistance. But through repetition, something can be undermined and changed. Performativity can evoke social, political and cultural change. Identity can be performed 'in between' as something that is not fixed and denies fixation, but is fluid. The movements also have a ritualistic character, not in a religious sense but as a social phenomenon. To create a connection through certain actions or movements.

The audience slowly becomes a witness, and towards the end the conscious other. In the beginning, the spectators peer over the dancers’ shoulders, facing the same direction as them. This is the perspective of many paintings from the Romantic period, in which people are small figures or dots in the overwhelming, all-powerful nature or stand with their backs to the viewer to focus on the landscape. In the industrial age, another reversal takes place. The individual human being is central and portrays himself as a controlling authority and entity that dominates nature. In the digital age, people have become dots and data again. Perhaps another reversal is possible. Perhaps a reversal is accomplished in Disambiguation, or set in motion.

The lurching and trembling of the bodies can be interpreted, on the one hand, as the tremors of an addicted body experiencing withdrawal symptoms because the drug has worn off. Addiction always involves habituation and dependence. Body and mind are fixated on the intake of the drugs; these are, of course, also imaginary and mental means that experience and numb us, seduce and distract us, allow us to ascend and descend. The behaviour of modern humans is partly determined by this fixation on the thrill. In today's event-driven society, humans constantly crave the thrill; they are addicted to experiences and, under the pressure of technology and the speed of modern life, constantly seek stimulation, new and ever stronger stimuli. The lurching movements may be the result of stimulation and overstimulation. On the other hand, the trembling of the body can also mark a transition to a new state of being, or at the very least, represent a simulation of an alternative or archaic state of being. Like a body undergoing withdrawal, it initially exhibits intense reactions to break free from habit and addiction. Initially, the longing for a missing substance predominates. But through the trudging and trembling, the body purifies itself, breaking free of the addictive substances, and achieving something substantial, a shift toward a deep connection with itself. Perhaps the bodies in Disambiguation are actually freeing themselves, for example, from pressure, depression, and discipline, from fear and isolation, which characterize capsular society, and returning to or rediscovering the speechless body, a body beyond the boundaries of language, detached from the construction and configuration of language, toward a subject that can manifest itself through movement and spatiality.

Perhaps we see in the performance a new "turn," a return or progression toward a different bodily awareness, or at least a possible beginning, partly because the process isn't yet complete but is still ongoing at the end of Disambiguation. A development unfolds in the performance, an evolution from bouncing and trudging movements to a genuine gait, from dangling limbs to upright, grounded movements, from being watched to looking, from "being moved" to "conscious movement." This new physical awareness may be primarily sensitive, intuitive, and animal, rather than cognitive, rational, and non-animal. Instead of fragmented, the body can once again be holistic, connected to the earth and to other bodies.

Disambiguation, in a sense, thematizes the clash of animal and non-animal energy, of physical rhythms and digital algorithms. Animal energy is one created by humans and animals, while non-animal energy is produced by, for example, electricity. A society based on animal energy differs significantly from one based on non-animal energy. Modern, industrialized societies, based on non-animal energy, are now considered more civilized. The question, however, is what constitutes civilization? According to Japanese theatre maker Suzuki, a civilized society is one in which perception and expression are developed through innate animal energy. This animal energy fosters the sense of security and trust necessary for healthy communication between people and within communities. The new shift may be a return to more animal energy. Or to a harmonious symbiosis and balanced synthesis of both types of energy, of premodernity and modernity. As in the performance, a theatrical dialogue is established between the animal quality of the bodies and the electrical energy of light and music.

In the 1970s, Suzuki developed a method for restoring the body as a whole by focusing on energy, breathing, and control over gravity. Footwork plays a central role in this training method, which connects one to the earth (and the spirits of the ancestors, thus to the soil of history) through stamping, while simultaneously allowing the entire body to resonate—not just the upper body, torso, and head, but all limbs. The lurching movements in Disambiguation are a kind of stamping and have the same effect. The springy crocs further enhance this effect. The entire body vibrates, all limbs moving. It has an animal quality, even if the aftershock may be the result of non-animal, artificial influences (such as drug use). The bodies sink to the earth, then rise again, seeking balance and calibration. In the moments of silence, the dancers' breaths are clearly audible.

The "turn" may also signify a rejection of (hyper)individuality and a path toward (new) subjectivity, entanglement instead of alienation. The subject is, after all, part of something and connected to a larger whole, such as groups and communities. Human existence is based on a "we" rather than an "I." American philosopher Maggie Nelson argues that the question is not whether we are entangled, but how we navigate, endure, and dance within this entanglement.

The sizzling performance intelligently touches on the body and identity discourse. Intelligent because concepts are not represented but subtly shine through the choreography, and questions arise, whose body is it and who and what determines identity? Are we humans increasingly being turned into objects by our urge for consumption and stimuli, and by the increasing influence of algorithms? How can we be more unavailable in this world of availability? Is the flight inward perhaps not just escapism but a form of liberation? How can we free ourselves from norms and ideologies in the ‘reality of desire’?

What makes Disambiguation so exciting is that the performance seems to continuously go in two directions, as if it is speech and contradiction, fragment and whole, presence and absence of the subject all in one. An essential player in this is the sixteenth body in the performance: music and sound; the sound composition of Fabian Reichle. Music and sound are largely fragmentary and non-descriptive. Due to its fragmentary character, the audio is a subtle indication of absent time and space, of bygone moments and of a club, and reinforces the feeling of loss. Just like the bouncing movements, the sound evokes a feeling of stuttering, and the question of who and what is stuttering, a subject or an object? The two moments when the music is fully and up-beat feel like a discharge. That which the bodies may long for or long for is suddenly present or returns for a few moments. The two moments of silence are moments of absence as well as presence, they are moments of meditation, contemplation and inner peace as well as moments of emptiness, loss and intrinsic unrest.

The performance presents various contrasts, such as the contrast between what is present and what seems absent, between post-club and club, individual and collective, the black-clad dancers on the seemingly white floor, and so on. Unlike in a club, the lighting is white and bright instead of dark and muted. Because of the bright light, all movements and bodies are extremely visible, as in a glass world, panopticon, or transparent society where everything can always be seen. This visibility contrasts, on the one hand, with the subjective spaces evoked by the movements, in which each dancer is still shivering after a night at the club, and the apparent protection and intimacy of these individual spaces. The harsh lighting creates a lack of privacy and intimacy. Everyone is equally visible; all movements are at the mercy of the observing gaze of another. Through the light the bodies are anonymized and objectified. On the other hand, through the light the viewer is made aware again and again of the quantity of bodies in both the physical and the fictional space, and of the concept of a group, and how the individual movements are connected to each other in a group choreography.

A hint of melancholy hangs over all movements and sounds. The absence or lack of a fixed subjectivity or connectedness makes the idea of subject and collectivity visible. When the movements are attempts to retrieve the world of a club, the absence of this club is also made clear by each bouncing, fragmented movement. In this sense, the bodies are engaged in a Sisyphean struggle. What they try to grasp, eludes them again and again. Perhaps they are Sisyphus without a stone. But who and what is Sisyphus without his stone?

In the philosophy of Albert Camus, Sisyphus is the symbolism for the absurd condition of man, who rebels against the meaninglessness of existence. By accepting his punishment and identifying with his fate, he takes his fate back into his own hands. That is why we can happily imagine Sisyphus, according to Camus. The story of Sisyphus can also be seen as a return to the subject. Through the punishment, he was turned into an object; the gods and the stone determine the existence of Sisyphus. He was punished because he longed for life, the sea, the sun. The repetition of the act of pushing the stone up the rock again and again, first of all confirms Sisyphus' punishment and status. However, through the repetition, Sisyphus also comes to a (new) awareness of himself and starts to walk in the honest gait again.

In Disambiguation we see a similar evolution. The movements at the beginning mainly go towards the ground, as if the dancers are carrying an imaginary stone, be it the burden or the echo of something that is past, or at a distance. The trudging and shaking of the body as withdrawal symptoms, an attempt to retrieve something or to shape a new existence. Are these human movements or primal animal instincts? The asymmetrical movements contrast with the symmetry of the course in space, the movement on diagonals and lines, backwards, sideways and forwards. As time passes, the dancers increasingly adopt a sincere attitude. What was at first a kind of falling or collapsing has now become a walking. Through an increasingly sincere attitude, there is visible more and more focus. Where the gaze was introverted or empty at the beginning, the attitude is now increasingly open. Openness as a condition for connecting with the other and others.

Here Disambiguation touches on societal developments of hyper-individualization, increasing loneliness, depression, illness, being locked up during a pandemic or in digital bubbles, and the physical consequences thereof. The body that goes crazy, becomes overstimulated, becomes extremely stimulated and becomes overtired, that longs and burns out. The current struggle is therefore also a struggle for our bodies. Who and what are our bodies, who and what are we? Do we only have a body or can we be this body again? And how?

The performance does not provide an answer and in that sense remains fragmentary. That is precisely what makes this journey as a spectator so intriguing and infinitely exciting. The moments that mark the beginning and end of the performance are not the beginning or end of the movement, the struggle, the evolution of which the audience is a part.

Florian Hellwig, June 2025

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Florian Hellwig is a freelance dramaturg, programme maker and associate professor at the Faculty of Theatre Studies at the University of Amsterdam. Before that, he was a lecturer, guest lecturer, tutor, mentor and committee member at several colleges and universities in the Netherlands. He is dramaturg of the performance collective URLAND, winner of the VSCD Mime/Performance Award 2022, among others. He has worked for more than 20 years in various disciplines: drama, performance, dance, mime and music theatre, with a particular focus on developing and supporting new makers. Since 2009, he has provided introductions, meet the artist talks and interviews at the Holland Festival.

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Macro architectures and abstract objects

ARTISTIC RESIDENCIES, CAMPUS

JUN 15, 2023

Macro architectures and abstract objects

Elisa Zuppini

Macro Architectures

Massive virtual structures emerge in space, transforming and vanishing, surrounding the body. Architectures-of-feeling, generated by sensual suspensions, are organized by possibly unthinkable geometries through force fields. Nearly unrepeatable, they rise and envelop themselves in space, as if independent forces superimposed on the actual site. They produce synthetic realities that each body differently reengineers by itself. The actual space and the one of the mind merge into an indissoluble whole, yet almost provisional. In this sense, these subjective spaces appear to be extensions of individuals’ sense-perceptions, granting the subject the possibility of reorganizing their sense of “self” or “selves”. Technologies with which the body is endowed, but that are simultaneously autonomous from this, as if they were mere instruments, albeit the resulting sensations by these generated.

A rose, enwrapped by a transparent membrane that is also time. The background is that of a common office-like-milkwhite-shelf and a desk. The focus is on the rose. Time (the transparent membrane), ripples and crinkles like plastic on fire as if disappearing into nothing.

The expanse of the mind, once partly reengineered, motions forward through abstract thinking. Lately, I have been reflecting on architecture as the ultimate structural manifestation of reality, and in the relation between spatiality and cognition. The mind being the producer of images - but also responsible for how these become animated, in what seems to be a non-human sense of time and extension - subjectively shapes the ways of meeting “oneself” through internal or external forms.

Remains interesting the relationship between projecting and designing. Particularly, how design can be a “technology of the self”[1] or “selves,” with which, the subjects can reconfigure themselves and their environment. Consider a free fall or being immersed in a water pool. Now, look at the furthest point from you; punto di fuga. Visualize the vectors surrounding your body running to that point and beyond it, to a space you weren’t able to see and a time you were not able, at least not yet, to know; viaggia nel tempo. It’s through this virtual, but gravitational space, that one can start to envision.

Mass and Abstract Objects

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Not only through multilayered outlines, but also through their distributed intentions, architectures themselves become tangibles vectors of construction that model a mass-object producer of other mass-objects, while involving the body in an ambiguous, and perpetual entangled relationship between being a creator and being nothing. These architectures disintegrate, collapse upon themselves, through their own meaning gap. Undisclosed forces are the ones that shape abstract objects. I understand these to be objects of thought, objects of the mind.

An object is an entity that one can seemingly possess, but it is also a document, a file, that one can revisit when it has been recorded. A concept, like a sensation that crystallizes, once recognized for us as such, tends to become an object that defines itself by the act of definition, just as a form that settles on a flow of continuous movement, one that seemingly fixed, expands. Motion and stillness in thiscoexist, albeit the object belongs to the quality of immobility, while everything else keeps moving nearly all the time. The object, as a conceptual construct, establishes our cognitive sphere.

Structures made and unmade, majestically, dizzyingly, appear recursively. New constructions and new heights, a painting on the ceiling of an old church, repeated into sameness, in a series, portraying Christ, or at any rate a Christian figure, resembles a surface floating with religious content. Emerging lineaments from the force field color the world of introspection. Micro scissoring sensus, between what we visualize, and how we move, but also between what we build and how we hold our breath.

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Exteriorized Introspection: extended previously, internal structures of feelings. Miniatures and Self Disciplines (postures of the subject)

You may wonder how macro architectures refract through the sensing subject into miniatures. That I can’t tell. But I know that the macrostructures are inhabited by minor architectures and incomplete objects. These are produced from within. Their mechanics are quantum-like and therefore act as if seemingly incomprehensible. Occasionally, these fragment into small yet extended superimposed landscapes that are alternated by boundless voids. The futural aesthetics by these evoked deliver a sense of unity, even if provisional. The actual space and the one of the mind merge once again, into an almost indissoluble whole, yet, again this collapses and refracts into infinitely self-shaping, quasi-like sculptures, mere stuff, and tiny things.

Pouring in abundance, the reiterated minute thoughts divided and looped remain in the background. Occasionally, these behave as ornaments, details, that sit next to a unified sense of being. Other times, these act like decentered protagonists or an anarchic mass of bacteria, while feelings themselves, locked behind such thoughts, leak through as rarefactive golden liquid.

Vision: Post-Architecture and Aesthetic Core

Architectures and tangled furniture collapsing upon themselves, coiling up into ones that arise anew, but now more as archetypical symbols than objects. These are symbol-objects that extend into space. Their external anatomy is internalized. These become observable at their most aesthetic core, and even when these are rendered explicit and behave as if remaining inaccessible, they are not devoid of an aesthetic interiority.

Complete or partial darkness, absolute abstraction, crashing thoughts, floating mental objects. For fractions of seconds, we seem to experience the most condensed entropy. The bodies’internal space expands externally like an ocean wave that starts retracting swallowing back, that what belongs to an outside. Each item becomes part of the internal chaos, implosion, or even death, but also, nonsense, even if for just an instant of its prolonged lucidity. Yet, through such mayhem, almost reassuringly, a clear dense, plutonic, cold, and metallic mass, one that we are well familiar with, occurs within us.

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1. Foucault, M. (1988). Technologies of the Self: A Seminar with Michel Foucault. University of Massachusetts Press. This book is a collection of lectures delivered by Foucault at the University of Vermont in 1982. It provides a comprehensive exploration of the concept of technologies of the self.

Written by Elisa Zuppini © Author editing by Bruno Listopad
Monday, May 22, 2023

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Relational Field

Relational Field_concept proposal

Written by Elisa Zuppini (2018)

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Vertigo is an intensified relational field ruled by sensations, where the usual distribution of senses is displaced and wired. Its components, actual and virtual (human and non-human), are hypersensitive matter that enter in significant affective relations, generating unpredictable, fragmented and obliques mis/alignments through the sensory chaos.

Everything is matter. Everything senses everything, therefore everything is potentially in relation.

However the elements enjoy independent ownership and features and they distribute their relationships through selective sensory attention. Nevertheless, in turn, each element is considered as a porous mass of independent entities (open by thresholds in its precarious boundaries) that can agglomerate and reshape, functioning as a system where the will is entangled and complicated.They can get involved in relations in its totality as well partially, triggering infinite possibilities of relational movement. So doing, as well their features/materiality can potentially mix or even dissolve in the swirl.

The elements mutually function as performers, events, agents and attractors for each other, even for themselves (being self-related systems). Enjoying specific characteristics of its being a system (system of being a plastic cube, human matter, a virtual force, audience etc.) they have different and limited range of possibility and features of: materiality, movement and aesthetic. When entering in a relation with each other this range augment and stretches, transforming the way they behave and of how, themselves and we, perceive them.The re-orientation of each component, in the actual and abstract spatial dimension, is therefore destabilized. They are pushed to experience the vertiginous and to constantly re-align and recompose in unpredictable modality in order to filter the chaos and to resist to the verge of collapse. (Is important to already point out that this extend to the audience as an element in itself).

The idea is obviously not literal, the creation activates through imaging, sensing and visualizing as main practices. However we can say that those operations are material too.When speaking of the human body this course is more easily detectable and me, as the maker, can analyze the process in relation to my own body.But how this apply to non-human elements and even to the abstract ones? How do matter feels and move? How can we feel matter feeling?

In my work I try to create conditions and space for this unknown (to us) to manifest. In the role of maker I put myself as well in an hypersensitive state towards the elements. By observing their features and selecting the involved material, I allow a sort of collaborative creation. Also, by crafting and scoring certain part, juxtaposing and cutting away others, I leave wide but defined space/time where those relations can just exist, transform each other and transform the experience of the audience.

Not all the relations actualize, would be impossible. Moreover this is fundamental in order to make the space thick of potential, awaking a sense of desire. At the same time the relations will always overlap (in different intensity through the piece). The audience will be challenged to design its own experience, as well to operate a selection through their sensitive attention.

The final aim is not to show how the relation works. On the contrary I am interested in how all this manifest in an event, affecting the audience, making it feel part of it. Leading it in a vortex where sensations triumph, possibly, beyond language.

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De.sy.re.

(Decentralized systems of relation)

A movement system developed by Elisa Zuppini

Written by Elisa Zuppini through 2018-2020

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De.sy.re. (decentralized systems of relation) is a relational technology designed for performative bodies that operates between actual and virtual, human and non-human elements. The technology is based on the principle of decentralization, focusing on redistributing attention between zones. It functions through logics of sensation and features the body as a vibrant and transformative material interface, a decentralized system of embodying forces. It is a hypersensitive and multi-sensory tool for the direct experience of its environment, which is itself active and ever-moving.

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De.sy.re. operates through an idea of space as relational fields, where all elements mutually function as performers, events, agents, and attractors for each other, including themselves (as self-related systems). By allowing micro and macro elements to enter into a relational movement, a system of systems is initiated, generating unpredictable, fragmented, and oblique (mis)alignments through sensory chaos. The practice builds on layered systems of relations, the outcome of which is only partially controllable. To facilitate motion, the system constantly requires bending, shifting hierarchies in the prioritization of relations, reconfiguring in form and function, and featuring every relation as unique.

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The technology brings together a multiplicity of movement systems that are not necessarily consistent with each other. In this sense, the technology is in constant movement as well. It is not based on dogmatism but, by its very nature, on the constant transformation and re-understanding of its principles. The only principle that does not change is that of relation, even if it means non-relation. There is always more than one, even if the object in question is the body itself. At the same time, it does not reject unity.

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By moving attention we create potential space, we allow movement to flow and its discontinuity.

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De.sy.re. is a practice that questions movement and the body through material and virtual lenses. Through the technology, I attempt to rethink dance from a non-anthropocentric vision: movement, activation, and orientation as products of re-configurable systems of forces, where the entanglement with diverse types of elements becomes fundamental. It can be seen as a dance-performative (or even choreographic) practice but also as a tool for everyday life: for orienting and relating, and for opening our perceptual understanding to our environment. It enables filtering, blocking, or absorbing information, creatively engaging with our material body, and subverting micro power structures.

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Workshops

Bio

Elisa Zuppini - Dance, Choreography & Performance

22nd December 1990, Ascoli Piceno (IT)

Lives and works in Amsterdam (NL)

Current member of Jakoozi, Amsterdam

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Education

> SNDO Bachelor in Choreography

Theaterschool, Amsterdam (NL) 2014 - 2018

> EMC Electronic Music Course

Sae, Amsterdam (NL) 2019

> FAICC Professional Formation in Choreography and Performance

Teatro Campo Alegre, Porto (PT) 2014

> Professional Formation in Contemporary Dance, Ballet and Performance

Italy, Austria, France, Belgium, Turkey 1997 - 2013

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Own works

> Disambiguation - official premiere at Frascati Theatre. With 15 dancers, Amsterdam (NL) 2025

> The Knot, solo work with Elisa Zuppini, fist presented at FLAM Festival, Amsterdam (NL) 2024

> Disambiguation, with 17 dancers from the program Expanded Contemporary Dance (Academy for Theatre and Dance), Amsterdam (NL) 2024

> Himalaya, solo work for one dancer, creation 2019 - 2023, premiere Theater Rotterdam, Feeling Curious? festival, Rotterdam 2023

> Miniatures, a duet work developed during FLAM residencies, and presented at Arti et Amicitiae in Amsterdam (NL) 2023

> Performing Landscapes, with 16 dancers from the program Expanded Contemporary Dance, Amsterdam (NL) 2022

> Dancing Plague commissioned by GAMeC Gallery for Modern and Contemporary Art in Bergamo, in an exhibition cureted by Pano Giannikopolis, 2022

> Synthetic Disjunctions, performed by Elisa Zuppini, premiered at Pleintheater, Amsterdam (NL) 2021

> Transmaterial 0X2 premiered at Van Gogh Museum, Amsterdam (NL) 2019

> STRAXXE site specific performance, at Picnic Pavillon in Venice (IT), May 2019

> TRANSMATERIAL premiere at Frascati Theater - 2018, Amsterdam (NL)

> LIIL premiere at Frascati Theater -2018, Amsterdam (NL)

> Fontana dei movimenti premiere at Veem House -2017, Amsterdam (NL)

> Room Xelle premiere at Theaterschool -2016, Amsterdam (NL)

> Singularities on the edges of nowhere, for 9 dancers, premiere at Villa Srozzi -2016, Florence (IT) - winner of the Young Talent development Open FLR

> Might be dancing / manifested perception premiere premiere at Theaterschool -2016, Amsterdam (NL)

> Over the East, near the West premiere at Theaterschool -2015, Amsterdam (NL)

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‍Collaborations

> Landscaping research project by WhyNot, Elisa creates a duet performance with Nica Roses, premiere Amsterdam BosTheater (NL) 2021

> Bare Time dance performance, Elisa choreographs a performance in collaboration with Dramaturg Koen Bartjin, premiered at W139 Amsterdam (NL) 2019

> Reorienting The Fall video work, in collaboration with Visual Artist Chrystopher Tym, premiered at Cinedans, Amsterdam (NL) 2021

> The Performative Role of Jewellery, in collaboration with Jewellery Maker Lavinia Rossetti, research project at the Royal Academy of Fine Arts, Antwerp (BE) 2018-2021

> Solid Dance dance performance, in collaboration with Choreographer Sigrid Stigsdatter, premiere at One Night Stand Dansatelier, Rotterdam (NL) 2019

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Fashion and video direction

> Movement director for Avoidstreet Fashion show 'Void,' Amsterdam (NL) 2023

> Movement director for Caterina Barbieri's music video Broken Melody, Milano (IT) 2022

> Movement Coordinator for Magliano's Fashion show SS23 Milano (IT) 2022

> Movement director for Avoidstreet Fashion show 'Piazzale Lotto,' Amsterdam (NL) 2022

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Curation

> Body DROP event- The Material and Political Gesture of Djing and Dancing; curated in collaboration with Choreographer Noha Ramadan for ADE Amsterdam Dance Event, Amsterdam 2019

> It's waiting to be created improvisation evening, with Lester Arias and Nikki Niklas Bloomberg at Oorsprong, Amsterdam 2015

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Awards/Scholarships

> DansWeb Long Life Burning, Elisa is selected to participate in a summer residency of 5 weeks at Impulstanz Festival Vienna (AT) 2018

> Awarded Young Talent in choreography 2016 by Open FLR, where Elisa is invited to make a work for 9 young professional dancers

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Artistic Residencies awarded

> Residency at Conny Janssen Danst, Rotterdam, new creation for dancer and choreographer Dario Tortorelli

> Residency at Vallegaudia, supported by RAM – Residenze Artistiche Marchigiane (promoted by MiC and Regione Marche), Fall 2023, Pesaro, (IT)

> Residency at Armunia Teatri, supported by research grant Bodyscape for Danza Urbana, Summer 2023, Tuscany (IT)

> Residency at FLAM under_construction, FLAM Festival, Summer 2023, Amsterdam (NL)

> Residency (collective)"Atelier per lo spazio pubblico" at Lavanderia a Vapore, Spring 2023, Collegno (IT)

> Residency at Campus Choreographic Center, Spring 2023, Porto (PT)

> Residency at Veem House for Performance, supported by Green House, Winter 2023, Amsterdam (NL)

> Residency at Crevalcore, supported by research grant Bodyscape for Danza Urbana, Summer 2022, Bologna (IT)

> Residency at Lavanderia a Vapore, under the program Ricerca X, Fall 2022, Collegno (IT)

> Residency at Dock 11, in collaboration with composer M.E.S.H. James Whipple, February 2021, Berlin (DE)

> Residency at Dansmakers New Adventures, March 2020, Amsterdam (NL)

> Residency at ICK Amsterdam Dance Company, July/Sept 2019, Amsterdam (NL)

> Residency at Choreographic Center Heidelberg, May 2019, Heidelberg (DE)

> Residency at Teatro Campo Alegre, Sept/Oct 2017, Port (PT)

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Teaching and sharing her artistic practice De.sy.re.

> SNDO, workshop and creation, Amsterdam 2025 (NL)

> Frascati Theater, Workshop on Diambiguation for Amsterdam Dance Event and WhyNot Festival, 2025 (NL)

> Jakoozi Dance Studio, Amsterdam 2025 (NL)

> Fontys Academy of Dance, Tilburg 2025 (NL)

> DT Danseteater Copenhagen, 2025 (DK)

> Expanded Contemporary Dance Academy, Amsterdam 2022/2025 (NL)

> OHT Nomadic School in the Alps, Trento 2023 (IT)

> Campus Choreographic Center, April 2023, Porto (PT)

> University of Pennsylvania with Dahlia Lì, October 2022, Philadelphia (NY)

> SNDO School for New Dance development, Amsterdam 2020/2021 (NL)

> Artez AKI, October 2021, Enschede (NL)

> Royal Academy of Fine Arts Antwerp, October 2020, in the frame of Body and Material Reinvented researchers; Antwerp (BL)

> Rietveld Academy of Fine Arts, February 2020, Amsterdam (NL)

> FAICC professional course in choreography and performance, Porto (PT) 2020/2021

> Jakoozi Dance Studio, Amsterdam, 2018/2019

> ICK, workshop with ICK Dance Company, Amsterdam 2019

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Works as performer for others (selected works)

> Museo De Agua by Rodrigo Sobarzo at ADE Amsterdam

2018, Amsterdam (NL)

> In many Hands by Kate Macintosh at Frascati Theater

2018, Amsterdam (NL)

> Renaissance by Marten Spangberg at Stedeljik Museum

2016, Amsterdam (NL)

> Magic Magazine by Ida Katinka at Frascati Theater- graduation work

2016, Amsterdam (NL)

> Maria Hassabi for Sndo at Doc zal

2015, Amsterdam (NL)

> Maktub Noir Dance Company

2012 - 2014, Florence (IT)

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She presented her work at: Holland Festival (2025); Frascati Theater (2025): Dansehallerne (2025): FLAM Festival (2024): BASE Milano (2023); Theatre Rotterdam (2023); Danza Urbana Bologna (2023); Synergy festival, Amsterdam (2023); Veem House for Performance, Amsterdam (2023); GAMeC Gallery for Modern and Contemporary Art Bergamo (2022); ECD Expanded Contemporary Dance Academy Amsterdam (2022); Amsterdam Bostheater August (2021); Tanzbiennale Heidelberg Germany (2021), Julidans, Amsterdam (2021); Punt WG gallery, Amsterdam (2021); Critical Costume, Oslo (2020); Het Heem, Amsterdam (2020); NDSM, Amsterdam (2020); Kunstelicht art space, Amsterdam (2020); Dansmakers New adventures, Amsterdam (2020); ICK Fest, Amsterdam October (2019); Antidote Festival, Amsterdam (2019/2020); Groningen Friday Night, (2020); W139 Gallery, Amsterdam (2019); Van Gogh Museum Amsterdam (2019); De Apple art space, Amsterdam (2019); Club OT301, Amsterdam (2019); Arti et Amicitiae art space, Amsterdam (2019); Corrosia Dance Festival, Almere (2019); Spider Festival Ljubljana (2018); Uferstudio, Berlin (2018); Frascati Theater Amsterdam (2018); Dansmakers Amsterdam (2018); VRJIDA Groeningen (2019); Gelderland fabriek Culemborg, (2017); Villa Strozzi (Florence, IT); Theaterschool (Amsterdam, NL); Baudhuis Theater Amsterdam (2016); Teatro Campo Alegre Porto (2015); Magma Events, Florence (2013).

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Contact

@elisazuppini‍

2026

Show: 30th April and 1st of May 2026, Himalaya at Frascati Amsterdam

Himalaya, Theatre Rotterdam, Feeling Curious? Festival 2023

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Residency: 16th to 22nd of February 2026, Elisa will be in residency at Frascati Theatre for starting her new creation, Amsterdam

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Workshop: 28th and 30th of January 2026, Elisa will share her research during an intensive workshop with the students of Fontys Dance Arts Academy. Tilburg

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Residency: 19th to 25th of January 2026, Elisa will be in residency at Frascati Theatre for starting her new creation, Amsterdam

2025

Workshop/Creation: 3rd–11th December 2025. Elisa will lead a two-weeks workshop/creation with the 2nd- and 3rd-year students of the SNDO – School for New Dance Development, in collaboration with artist Toni Steffens. The project is based on a research archive on post-modern choreographer Pauline de Groot, with a public presentation of the research on 11th December. Amsterdam

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Guest artist: 21st-23rd November 2025. Elisa is invited to present her research at Lavanderia a Vapore for Research Camping. An initiative curated by Ricerca X. Turin

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Workshop: 15th-16th November. Elisa will teach the workshop 'De.sy.re. (Decentralized Systems of Relations) at Jakoozi, for the Jakoozi Workshops Fall Series 2025. Amsterdam. More info

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Workshop Disambiguation: 22nd October. Elisa will facilitate a workshop based on her group piece Disambiguation at Frascati Theatre, for Amsterdam Dance Event x WhyNot Off Venue. Amsterdam. More info

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Residency/creation: September/October 2025. Expansion of The Knot, Jakoozi. Amsterdam

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Creative meeting: 20th and 21st of October. Elisa will be part of a two days artist exchange on a creative initiative between Theater Rotterdam and Theater Kortrijk in Belgium. The session will take place at Theatre Rotterdam.

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Guest speaker: 22nd September. Elisa will be a guest speaker in the program Dance Dialogues, at Fontys Dance Arts Academy, for the programs Contemporary and Contemporary Urban. Tilburg

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Sharing: 13th September. Open studio presentation The Knot. At Jakoozi studio, Amsterdam

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Visit artist program: 9th to 13th of July at Santarcangelo festival with FPK, Elisa will be part of a selected group of artists to take part on a visiting program of shows and professional meetings during Santarcangelo festival. From an initiation of FPK (Fonds Podium Kunsten). IT/NL. Santarcangelo (IT)

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Visit artist program: 3rd to 6th of July at Julidans festival, Elisa will be part of a selected group of artists to take part on a visiting program of shows and professional meetings during Julidans festival, Amsterdam

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Show: 14th of June 2025, The Knot at Holland Festival, in the frame of 'Welcome to a Night in Asbestos Hall', Trajal Harrel private studio at Holland festival. Amsterdam

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Review: A Painting of Resignation, a review on Disambiguation by dance dramaturg and writer Fransien van der Putt, written for Theatrekrant (Critic's Choice). More info

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Show: 20th and 21st of May 2025, Disambiguation official premiere at Frascati Theatre, Zaal 1. Amsterdam. More info

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Show: April 13th, Rehearsal (The Knot) at Jacuzzi, for the Red Light District Festival, De Wallen. Amsterdam

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Auditions: 2nd April 2025, Elisa will work on a one day group creation with the participants of the auditions at Expanded Contemporary Dance, Academy for Theater and Dance in Amsterdam

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Show: 21st March, The Knot at Dansehallerne, for the program 'New Sh*t' curated by Sigrid Stigsdatter Mathiassen. Copenhagen. More info

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Workshop: 19th of March 2025, Elisa will share her research at Akademiet for Musik, Dans og Teater in Copenhagen

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Residency: During February and March 2025 Elisa is in residency at Jacuzzi and ArtEZ Arnhem, for a research creation with the dancer and choreographer Dario Tortorelli

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Guest speaker: 14th March 2025, Elisa share her research with the students of Expanded Contemporary Dance department in the context of Dance Dialogues, at the Academy for Theatre and Dance. Amsterdam (NL)

‍2024

Teaching: 9th of December 2024, Elisa will teach her dance practice to the participants of the Intensive Course at SNDO - School for New Dance Development, in Amsterdam (NL)

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Show: 15th/16th/17th of November 2024, Plein Theater, Elisa presents her final research on Pauline de Groot's archive on invitation of Fransien van der Putt, Amsterdam (NL) More info

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Show: 2nd of November 2024, Disambiguation (extract) at FLAM festival in Amsterdam (NL) More info

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Show: 1st of November 2024, The Knot at FLAM festival in Amsterdam. More info

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Residency: 7th to 18th of October, Elisa is in residency at the studio Jakoozi, to research on her new solo work The Knot, Amsterdam

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Presentation: 5th of October 2024, within the context of the conference Performing The Archive at Netherlandse Dansdagen, Elisa presents part of her research on Pauline de Groot's archive, on invitation of Fransien van der Putt, Maastricht (NL) More info

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Show: 27th of September 2024, The Knot (research) at SCOOP festival with Jacuzzi, Copenaghen (DK)

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Show: 20th of June 2024, Himalaya at Spider Festival in Lubljiana (SL) More info

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Show: 19th, 20th, 21st, 22nd of June 2024, Disambiguation group work created for the Expanded Contemporary Dance, Academy for Theatre and Dance, in Amsterdam More info

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Teaching and creation: 8th of May to 22nd of May 2024, Elisa will teach her dance practice, and create a new group work for Expanded Contemporary Dance at the Academy of Theatre and Dance in Amsterdam

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Residency: 15th to 19th of April 2024, research residency at Conny Jansen Danst on new solo creation for choreographer and dancer Dario Tortorelli More info

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Auditions: 03 of April 2024, Elisa will work on a one day group creation with the participants of the auditions at Expanded Contemporary Dance, Academy for Theater and Dance in Amsterdam

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Residency: 10th to 23rd of March 2024, Elisa works on a new creation for the choreographer and dancer Dario Tortorelli, research residency at Jacuzzi, Amsterdam

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Dance Dialogues: 07 of March 2024, Elisa is invited to give a talk about her artistic career and research at Expanded Contemporary Dance, Academy for Theater and Dance in Amsterdam

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Advising/Dramaturgy: Nov 2023 - Feb 2024, Elisa will work as a dramaturgical advisor for Balder Hansen's solo Optical Neuritis, try out show at Theatre Pand P, Eindhoven. More info

2023

Residency: 27th - 2nd November 2023, Elisa will be in residency at Vallegaudia, Pesaro; in collaboration with RAM – Residenze Artistiche Marchigiane (promoted by MiC and Regione Marche)

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Show: 20th of November 2023, Synthetic Disjunctions will be shown at Warm Bad Amsterdam, the Digital Edition

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Teaching and facilitating: 20th and 21st November 2023, together with Michael Scerbo, Elisa will facilitate two days workshop for the new Cinedans interdisciplinary project "Moving Media Lab"

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Show: 6th October 2023, Himalaya will be shown during Festival FAROUT, BASE Milano. More info

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Show: 3rd October 2023, Himalaya will be shown during Festival Feeling Curious?, Theatre Rotterdam. More info

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Residency: 18th-28th September 2023, Elisa will be in residency at Armunia, Toscana, for the second part of the research grant Bodyscape, erogated to her by Danza Urbana, Italy. More info.

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Fashion Show: 17th September 2023, VOID design by Eduardo Leon and movement direction by Elisa Zuppini, Sint Annentstraat 30, Amsterdam. More info

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Show: 9th September 2023, Himalaya will be shown during the festival Danza Urbana, Bologna, Fienile Fluò. More info

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Show: 31st August 2023, Synthetic Disjunctions will be shown at LOOM #3 Subbacultcha, Posthoornkerk, Amsterdam. More info

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Residency/Presentation: 10th-14th July 2023, Elisa is in residency at FLAM, Arti et Amicitiae Amsterdam, where the artist will work on a new creation. Presentation on Friday 14th

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Mentoring: 15th-27th June 2023, Elisa is one of the mentors at Nomadic School Little Fun Palace in the Alps, Trentino, Italy. More info

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Advising: May/June 2023, Elisa is advising the creation process of Asya Deynekina for her graduation work at SNDO School for New Dance Development. Premiere: 1st - 3rd of June Temple, Amsterdam

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Residency: 8th-14th May 2023, Elisa is one of the residents of the program 'Atelier per lo spazio pubblico' at Lavanderia a Vapore, Collegno (IT)

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Show: 23rd-24th June 2023, Himalaya will be shown during Synergy Festival. Amsterdam (NL). More info

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Residency: 27th March - 17th 2023, of April Elisa is in residency at CAMPUS choreographic center in Porto (PT) to develop her new creation. More info

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Teaching: 9th - 14th April 2023, Elisa will be sharing her practice and research De.sy.re. at CAMPUS choreographic center in Porto (PT)

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Teaching: 9th March 2023, Elisa will encounter the students of Expanded Contemporary Dance in Amsterdam to talk about her research and share her vision and experience as a choreographer

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Residency/Presentation: 6th - 17th March 2023, Elisa is in residency at Veem House for performance for the residency program GARDENING, made possible by Green House. Presentation on the 16th and 17th of March. Amsterdam. More info

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Teaching: 15th February 2023, Elisa is teaching her practice De.sy.re. at SNDO, class SNDO1. Amsterdam

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Advising: February - March 2023, Elisa is advising the graduation work 'Liquid hour' by Asya Deynekina at SNDO. Premiere at Frascati 9th, 10th, 11th of March. Amsterdam. More info

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Residency: 2022/2023, Elisa is recipient of the research grant Dancescapes, erogated by Danza Urbana. The grant will provide 2 residencies in Italy, between 2022 and 2023 in support of Elisa's research and creation. The first residency is taking place at Sementerie Artistiche in December 2022 Bologna (IT). The second residency will happen at Armunia Teatri in September 2023, in Tuscany (IT). More info

2022

Residency: October - November 2022, Elisa is part of the residency project 'Ricerca X' at Lavanderia a Vapore in Turin, (IT). More info

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Fashion show: 8th October 2022, fashion show Piazzale Lotto, a collection made by Eduardo Leon for which Elisa is movement director. At Jacuzzi, Amsterdam. More info

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Teaching: 17th and 18th October Elisa will teach a workshop together with scholar Dahlia Lì, at the University of Pennsylvania in Philadelphia (US). More info

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Residency: June 2022 - April 2023, Elisa is part of the program 'Nuove Traiettorie' which constitutes of residency programs, festival visits and network programs. Ravenna, Arboreto, Tuscania, Castiglioncello (IT). More info

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Advising: September 2022, Elisa will advise Alexander Porter for the project Emotijng developed at DAS Master for choreography, Amsterdam (NL)

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Fashion show: 19th June 2022, Elisa will be movement coordinator for Magliano Fashion House, collection SS23 - under the movement direction of Michele Rizzo. Milano (IT)

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Show: 4th June 2022, Elisa will perform at the music festival Lentekabinet in collaboration with producer and visual artist Agnes Mormirski. Amsterdam (NL)

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Advising: June 2022, Elisa will advise Lucas Lagomarsino for his work 'hey, rococò' at SNDO1, Amsterdam (NL)

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Show: 29th May 2022, the performance 'Intoxication, acidity, compression' that Elisa made in collaboration with Michael Scerbo, will be presented in occasion of the finissage of the exhibition 'Dancing Plague' curated by Panos Giannikopolous at GAMeC gallery for Modern and Contemporary Art, Bergamo, Italy. More info

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Workshop: May 2022, Elisa will lead a workshop with her practice at FAICC Professional Formation in Interpretation and Choreography, at Teatro Campo Alegre in Porto (PT)

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Advising: May 2022, Elisa will advise Alexander Porter for the project Emotijng developed at DAS Master for choreography, Amsterdam (NL)

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Show: 29th April 2022, Elisa creates Performing Landscapes - a performance with 16 dancers for ECD Expanded Contemporary Dance at Academy for Theater and Dance in collaboration with Whynot. Amsterdam, NL. More info

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Show: March/April 2022, Elisa's work is part of the exhibition 'Dancing Plague' at GAMeC Museum in Bergamo, curated by Panos Giannikopolous; Bergamo (IT). More info

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Testimonial: 24th March 2022, Elisa is leading a testimonial on her work and research at FAICC - Teatro Campo Alegre (Porto,PT)

2021

Show: 18th November 2021, Synthetic Disjunctions will be shown at Pleintheater, Amsterdam. More info

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Show: 23rd October 2021, Landscaping with Nica x Whynot Festival will be presented in Vliegenbos, Amsterdam

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Teaching De.sy.re: 8th October 2021 at Artez AKI Academy For visual Arts, Enschede (NL)

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Show: 1st to 4th September 2021, Landscaping with Nica x Whynot Festival, will be shown at Amsterdam Bostheater. More info

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Show: 3rd&4th July 2021, Himalaya will be shown during Julidance Off Venue atJacuzzi, Amsterdam. More info

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Show: 18th July 2021, Himalaya will be shown during Tanzbiennale Heidelberg, Germany. More info

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Show: 6th May 2021, Bare Time at Punt GW Gallery, Amsterdam_A collaboration with Koen Bartjin. More info

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Advisory: April 2021, to Alexander Blum Bertelsen's work 'Endlings' at SNDO School for New Dance Development

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Teaching De.sy.re: March 2021 Guest teacher at SNDO School for New Dance Development 2nd year, Amsterdam

2020

Show: 7th October 2020 Synthetic Disjunctions at Antidote 1on1 Festival, Kunstelicht Amsterdam Noord

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Show: 28th September 2020_Synthetic Disjunctions research presentation at Dansmakers Amsterdam

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Show: 17th June 2020_Synthetic Disjunctions site specific at Antidote Festival 1on1, at NDSM, Amsterdam

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Teaching De.sy.re: 10th-15th February 2020 at FAICC professional formation in choreography, at Teatro Campo Alegre, Porto (PT)

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Teaching De.sy.re: February 2020 Guest teacher at Rietveld Academy, VAV department, Amsterdam

2019

Show: 18th and 19th December 2019, Bare time at W139, Amsterdam

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Show: 4th November, Transmaterial 0X2 at Arti et Amicitiae, Amsterdam

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Show: 27th October 2019, Himalaya at ICK Fest, Amsterdam. More info

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Show: 17th October 2019, Himalaya try-out at Body DROP event, ICK x ADE, Amsterdam

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Event: 17th October 2019, Body DROP - the material and political gesture of Djing and dancing, Amsterdam. More info

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Residency: July/August 2019, Elisa is in residency at ICK Dans Amsterdam to develop her new piece

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Show: 19th of May 2019, STRAXXE, a site-specific piece that Elisa created for Pic-nic Pavillion, with Federica Dalla Pozza

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Residency: 1st to the 15th of May, Elisa is in residency at Heidelberg Choreographic Center to develop her new work with the performer Federica Dalla Pozza. In residency also with fashion designer Eduardo Leon and dramaturg and artist Bruno Listopad. Germany

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Teaching: 10th to the 17th of February 2019, Elisa will lead a workshop to the ICK company in Amsterdam

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Show: 13th March 2019, LIIL at Almere festival, Corrosia Theater(NL)

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Show: 18th September 2019, LIIL at Spider Festival in Lubljiana (SL). More info

Disambiguation (2025)

The Knot (2024)

Disambiguation (2024)

AN ARCHIVE (2024)

Himalaya (2023)

Miniatures (2023)

Performing Landscapes (2022)

Synthetic Disjunctions (2020)

Synthetic Disjunction (Site Specific)

Transmaterial 0X2

STRAXXE

Concept and choreography | Elisa Zuppini

Performance | Federica Dalla Pozza

Outfit | Eduardo Leon

Photo credits | Marco Bizzotto

TRANSMATERIAL

LIIL

Fontana dei Movimenti

Singularities on the edges of nowhere

Might be dancing / manifested perceptions

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Might be dancing / manifested perception - by Bruno Listopad

Dancing Plague_ Intoxication, Acidity, Compression

Landscaping

Reorienting The Fall

Bare Time

The performative role of Jewelry

Body DROP -

The material and political gesture of DJing and dancing

A curation in collaboration with Noha Ramadan for ICK&ADE (Amsterdam Dance Event)

Bodies in Between: Elisa Zuppini's Disambiguation

Macro architectures and abstract objects

Relational Field_concept proposal

De.sy.re.

(Decentralized systems of relation)

A movement system developed by Elisa Zuppini

By moving attention we create potential space, we allow movement to flow and its discontinuity.

WORKSHOPS

@elisazuppini

2026

2025

‍2024

2023

2022

2021

2020

2019

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