Artistic Director

Francesca Magnini | Direzione Artistica Born in Rome in 1983, after a brief sports career in Artistic Gymnastics and a six year experience singing in the Polyphonic Choir of the Popular School of Music of Testaccio directed by Maestro Amedeo Scutiero, Francesca Magnini is admitted to attend a professional training in classical and contemporary dance at Balletto di Roma, directed by Franca Bartolomei together with Walter Zappolini, where she graduated in 2004. Beside the training as a dancer she has always encouraged a strong passion for humanistic studies, enriched at the Department of History of Art and Performing Arts, Faculty of Humanities, “La Sapienza”, University of Rome. Graduated with honors in Theatre and Performing Arts (2006) with a thesis in Dance History entitled “Research paths on the Contemporary Scene: Kinkaleri” and in Knowledge and Techniques of Theatrical, Cinematographic and Digital Performance (2009), with a master thesis in Theatre History “The Mask of Pantalone in Roman Dramaturgy of the seventeenth century”, in 2013 she received a PhD in Digital Technologies and Research Methodologies for Performing Arts with a thesis entitled “Dance and repertoire. Tradition and transmission in contemporary choreography”. At the same Department he has also collaborated with Prof. Roberto Ciancarelli assisting him in many teaching activities related to the chairs of Dance History, History of Theater and Performing Arts, Theory and Pedagogy of the Actor, Theories and Techniques of the Actor. Her doctoral research project – came out of a close and fruitful collaboration with the International Choreographic Arts Center (ICK) in Amsterdam, directed by the Italian choreographer Emio Greco and the Dutch director Pieter C. Scholten – has thoroughly investigated the mechanisms of production, incorporation and transfer of repertoire in contemporary choreography, with particular attention to the most recent digital experiments for the documentation and transmission of movement (with direct analysis of different Digital Tools and Multimodal Glossaries). This study merged into a publication entitled: “Inspiration Emio Greco | Pieter C. Scholten. The Multiplicity of Dance”(Artegrafica, Rome, 2015). This is a volume entirely in English, with a preface by Ada d’Adamo, launched at the International Theater and Film Bookshop in Amsterdam and then presented in Rome, at the Sala Squarzina of Teatro Argentina on the occasion of the Romaeuropa Festival 2016. Through an articulated and non-linear path that traces the history and the poetic motivations of the two artists, together with the research laboratories of both major and apparently “minor” productions, the volume investigates the mechanisms of creation of contemporary choreography and fits fully into the current debate on dance transmission processes.
In 2010 she was selected by the cultural association Danzavenezia to participate in the project “Choreographic Collision”, an intensive laboratory of critical analysis for dance promoted by Ismael Ivo as part of the “7th International Festival of Contemporary Dance” of the Venice Biennale and led by Prof. Stefano Tomassini. Member of AIRDanza, Italian Association for Dance Research (since 2012) and of CUT, Consulta Universitaria del Teatro (since 2017), from 2010 to 2013 Francesca Magnini has also collaborated in the editing of scientific essays for “Biblioteca Teatrale” (Edizioni Bulzoni), quarterly review of studies and research on Performance, directed by Ferruccio Marotti, Cesare Molinari and Luisa Tinti, edited by Centro Teatro Ateneo – Performing Arts Research Center of “La Sapienza”, University of Rome. She took part as a member of the organizing committee at International Conferences, including “Imagining Dance: Bodies and Visions in the Digital Era” (La Sapienza, Rome, 3-4 December 2015). She has signed publications on important scientific journals, including: Inside Movement Knowledge – LAB#4. Un laboratorio di ricerca per la registrazione e la trasmissione della coreografia contemporanea, in A. Jovićević, A. Sacchi (a cura di) I modi della regia del nuovo millennio, «Biblioteca Teatrale», Bulzoni, Rome, 2009, voll. 91-92, pp. 327-342; Un pensatore del corpo, review of Dominique Dupuy’s book, Danzare Oltre. Scritti per la danza, edited by Eugenia Casini Ropa and Cristina Negro, Macerata, Ephemeria Editrice, 2011, in «L’Indice dei libri del mese», Anno XXIX, n. 5, May 2012, p. 33; Trame di tecniche e stili nelle tradizioni della danza contemporanea. Note su studi e ricerche, in «Danza e Ricerca. Laboratorio di studi, scritture, visioni», Scientific Review of Alma Mater Studiorum – University of Bologna, IV, n. 3, 2012, pp. 1-34; Sistemi di trasmissione delle conoscenze nella danza contemporanea: la relazione coreografo-danzatore, in «Teatro e Storia», Bulzoni, Rome, 2013, vol. 34 n.s., pp. 325-357; Seigradi: dancing in a real-virtual environment. Affects and Movement in Santasangre’s work – in «Danza e Ricerca. Laboratorio di studi, scritture, visioni», Scientific Review of Alma Mater Studiorum – University of Bologna, IV, n. 5, 2014, pp. 31-53; Pre-Choreographic Elements: alla sorgente delle energie corporee e dei materiali di movimento, in Di Bernardi, Vito e Monda, Letizia Gioia (cur.), proceedings of the International Conference “Imagining Dance. Bodies and visions in the Digital Era, Sapienza Università di Roma, 3-4 Dec. 2015, Roma, Piretti ed., Bologna 2018, pp. 131-142; “Kinkaleri” item, in, Focus (I Cenci, West, Everyone Gets Lighter | All!), n. 3, 2018.
She has also made numerous contributions to online magazines and blogs such as Exibart, Biennale Danza, Teatro e Critica, Alfabeta2, Artribune, as well as interventions at conferences and conferences in the field of Dance and Performing Arts, including: From Choreographic Objects to Afterlife of IMK, Inside Movement Knowledge LAB # 4, Amsterdam, The Netherlands, 17 April 2010; Camillo 2.0: Technology, Memory, Experience, Performance Studies international # 17, Re: Mickery shift – Roundtable on Mickery Archives, Utrecht, The Netherlands, 28 May 2011; Réflexions et hypothèses vers une nouvelle idée d’espace, de temps et de répertoire dans la danse contemporaine, Atelier des doctorants en danse, Cycle «Corps et danse», Le corps sur la scène et hors la scène, Université de Nice Sophia Antipolis, Nice, 24 June 2013; “Affections and effects in the Tanztheater”, as mediator of the round table with the German choreographer Susanne Linke, curated by Vito di Bernardi and with the participation of Roger Salas, La Sapienza University of Rome, 22 February 2017.
As a dancer, from 2007 to 2010 she has worked in the Company Metis directed by Gloria Pomardi, as part of the innovative project of contemporary dance and scenic movement “La Sapienza … Danza”, conceived by Marta de Ioanna, with whom she interpreted several performances such as “Carpe Diem: Dancing on the verses of Orazio and Rafael Alberti” (Teatro Palladium, Rome), “Filastrocche in cielo e in terra” (Teatro del Sogno, Rome), “Magnificat” (Treia, Macerata), “Five minutes for Birmania”and” Such sweet tender “(with the MuSa Sapienza jazz orchestra). With Metis she also produced “The dancing peacock” (Italy, 2007, 16′) short film directed by Marco Mattolini, premiered at the 2007 Rome Film Festival.
In July 2017 (Paris) she has obtained the 1st certification for teaching the Floor-Barre® technique, the 2nd in Rome in 2018, of the Zena Rommett Floor-Barre Foundation (NY), which she currently teaches at Balletto di Roma “Benessere”. In 2016/2017 she has collaborated with Balletto di Roma as Academic Advisor, with a supporting role in the cultural and communication processes related to the activity of the Dance School directed by Paola Jorio, of the Professional Contemporary Dance Course and the Company, both under the Artistic Direction of Roberto Casarotto, up to the appointment of Artistic Director for the three years 2018-2020. She is Artistic Curator for the cooperation project CLASH! When classic and contemporary dance collide and new forms emerge (2018-2021), approved and co-funded by Creative Europe (out of 84 projects co-financed for the small scale, of which 13 Italian).
For the academic year 2018 and 2019 she has been appointed Professor of Digital Archives and Museums for the Performing Arts at the Master’s Degree (LM-65) of the Department of History of Art and Performing Arts of “La Sapienza”, University of Rome.