BIOGRAPHY

Independent choreographer and dancer.
In 1994 she forms AGAR company which becomes in 2005 Associazione Agar.
In order to spread contemporary dance in Italy, Paola has been artistic director of some festivals. She leads workshops and periodically teaches history of modern and contemporary dance at some Italian universities. In 2009 she forms [collettivo] c_a_p, a collective aiming at spreading contemporary dance culture.
In 2014 her book “Corpo Politico”, curated by Silvia Parlagreco and Silvia Bottiroli, was published by Editoria & Spettacolo.

    PERFORMANCES

WASTE MOVEMENTS (2018), OPSÌA (2018), ANIMANIMALE (2017), S.O.N. (2017), L'ASSENZA (2017), VERBO PRESENTE (2016/17), PROVE DI ABBANDONO (2016), ZERO (2015), OUTWITH (2014), WITH (2014), COSTRUISCO SULL'OBLIO _ mise en espace (2014), WITHOUT (2013), ABSTRIAL (2013), ERBARME DICH (2011), DUPLICA (2010), UNO (2009/2010), CESSIONE (2009), PER FIGURA SOLA (2008), Homós - apologia dell’enantíos (2008), Visioni irrazionali. Come conigli (2007), Corpus Hominis (2006), Chrónoshomo - odissea dell’immobilità #4 (2006), Kytos – in potere – odissea dell’immobilità #3 (2005), Double-face – odissea dell’immobilità #2 (2005), Monocore – odissea dell’immobilità #1 (2004), Torino Attraverso l’Opera Per Kirkeby (2004), HaccaH (2004), Sinesuide – imposizione verticale (2002), Figura umana, teatri anatomici di Francis Bacon (2000), Triptychos (2000), In bianco - volo nuziale senza ali (2000), Freak (1999), Assedio (1999), FK (1998), Norcolo (1997), Aequos (1996), 6 November 1994 - 35 dancers for a theatrical event in memory of Piedmont flood (1995), Flatus, un canto da (1994), Moto da luogo (1993), Sotto-sopra (1991), Désordre (1989), Ahim (1989), Quéte (1988), Studio per Ahim (1988), Progetti per bianco porpora (1987), Clotilde Clotilde (1986).
Paola Bianchi was present with her projects in many international theatre and dance festivals.

    COLLABORATIONS

In 1997 she starts her collaboration with the company of shadow theatre Controluce Teatro d’ombre.
In 2001 she starts her collaboration with Ivan Fantini, severe thinker and geopolitical ingredients critic. Together they produce four theatrical-gastronomic events: Diciassette per una nubile senza candele inspired by the life and works of Grimod de la Reynière (French gastronome, ‘700) - May 2001; Il poeta è un’elegantissima anima che va a cena sulle stelle - July 2001 - and Morto un poeta se ne fa un altro - March 2002 - two works inspired by Italian poet Piero Ciampi; Adius utòpia - February 2002.
In 2001 and 2002 she collaborates with the visual artist Marzia Migliora.
In 2003 she has been choreographer and dancer in the video-installation and dance performance Naspel by Holland filmmakers Paul and Menno De Nooijer.
She has been choreographer of Business class (2007), Das kleine Zimmer am Ende der Treppe (2011), X-Freunde (2014), Good Morning, boys and girls (2017) four performances created together with Barbara Klein and produced by Kosmostheater of Vienna.

    VIDEO PROJECTS

Paola Bianchi was present with her videos in many dance film festivals like: Riccione TTV, VIDEODANSE 2009 at Centre Culturel Français – Genova, Tempo II – New York.
In 2002 she creates the video In adius utòpia.
In 2003 she is choreographer and interpreter of Falso piano, a video-dance produced by Torinodanza and Rai Sat Show.
In 2003 she is choreographer of Supplica, a short by Katjuscia Fantini.
In 2004 she is choreographer and interpreter of the art-video ErrE EnnE.
In 2011 she made video and sound processing of s.i.a. and Perifrastica, video-installations by Ivan Fantini.
In 2014 she creates the video WITHOUT PLACE.

    AUDIO PROJECTS

In 2014 she creates NoBody, a project of verbal dance, an attempt of transmission of the dance, a first step to bring the dance where it can not stand. The italian version was presented at recording audio festival Helicotrema 2014 and 2015.
In 2015, together with Silvia Parlagreco, she realized 5 radio documentaries about Tadeusz Kantor’s performances. These radio broadcasts were sent on Rai Radio3.



Body is my specific language, it is my tool, but it’s also the area of investigation, around which my research and my poetics of body revolves. Everything that happens to us on a daily basis, even the smallest event, returns in our body: digested, metabolized, vomited, it goes in and comes out our body, leaving traces.
Our body is the map of our feelings, our emotions, it is the writing of our lives. Body on the scene is therefore the subject of my research.


















































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