Video by E. Santinelli

Picture on top by E. Lattanzi


Everything originates from an encounter. Seesaw Dance Company was born in 2017 on the Lake of Garda rivers, from an encounter. For this reason, we want to honor and perpetuate the richness that comes from union and the reciprocal exchange, with you, through different languages.
The company is an open system that gathers artists from different artistic fields. The heart of the company consists of seven professionals, it grows and modifies its rhythm according to the project concerned. Our research moves from contemporary dance to physical theatre to music. Our pivot is the importance given to the meaning of what we work on and stage.


Seesaw refers to the simple but extremely fascinating play that encompasses our identity. Seesaw is unstable, like us, because it is always ready to question itself, but it is also stable and tied to strong values: reciprocity, depth, self-irony, and dedication to research. Seesaw lets itself go and carries anyone who chooses it, it makes us feel the wind on our skin, and the void in our stomach, thoughts flow in its movement, inexplicable sensations unleash, it lives and makes us feel alive. We aim to do the same with the people who will share the theatre and the performance space with us in a path of endless growth and discovery.


The quality of movement and our choreographic research take life from the meaning and reflection on the key point of the project that we are working on. There is an initial immersion in sensations, situations and narratives that we wish to communicate and, at the base, ongoing observation of the children’s movement and of people who society considers strange, different and fragile. The processing of everything takes place through interpersonal contact, the feelings and experience from the content, and the questions at hand. Moreover, we give importance in placing the body in uncomfortable states and total absence of control, to reach a sensorial exploration and a deep awareness of ourselves tied to imagination. In parallel, there is an experimentation of the directions that a composition can take, guided by a constant dialogue on the topic in question.
We work on coordination, synchrony, and harmony pushing their boundaries and transforming the beauty of movement, form, and technique in their natural expression of internal states.
We aim to dissolve the space between gesture, message, dance, word, and music so that they can melt together in strong unison. Our drive resides in exploring the subtle balance between tension and fluidity and we are extremely fascinated by the relation between sensation, emotion, language, and body.


Our major inspiration in contemporary dance, dance-theatre and physical theatre are Pina Bausch, Vsevolod Meyerchol’d, Jerzy Grotowsky, Sidi Larbi, and Ohad Naharin. The techniques and disciplines that influence us are Contact Improvisation; Release Technique; DanceAbility; and Floorwork and, finally, the couple dancing that we admire the most are Tango; Fox Trot; and Swing.

We love to deal with philosophical and human themes that are salient in our times. We give special attention to the human fragility linked to those motor-sensory aspects of the body that lead to meaningful consequences in the emotional and relational spheres, and on the way of being-in-the-world and of being-with-the other.
Last but not least, we believe that dramaturgy in dance and theatre can deeply connect audience and artists/creators in close and open dialogue and that it can activate a valuable reflection that operates simultaneously through the body, the feelings, and the mind.

We also believe that, as P. Ricoeur affirms in 1988 in his masterpiece “On Time and Narrative”, the Present is what is told in virtue of the art of composing a strong textile with the strands of events. This Present draws its strengths from the composition of plots about communities. So, the narration expressed through movement, theatre, images, words, and music has the incredible power of creating a collective identity.


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Picture by M. Beberi

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Picture by M. Beberi

seesawhouse_riva del garda

Picture by M. Beberi


A trilogy about fragility, violence and possession united by the fil rouge of the need to put attention on those human conditions that make us feel powerless and abandoned, and the need to value the strengths and the richness that can raise from these disadvantageous situations.

1. Im-bilico

Who said that beauty is in grace? But then, what is grace?
“La grazia non è un’andatura attraente…è la forza sovrumana di affrontare il mondo da soli senza sforzo, sfidarlo a duello tutto intero senza neanche spettinarci”

Erri de Luca 

“Grace is not an elegant way of is the gigantic strength of facing the world alone without effort, of challenging it in a duel without even ruffling our hair” 

Erri de Luca 

A hurricane wanders violently in my chest, it passes through nerves and ganglia that run relentlessly on the edge of infinite cliffs, out of balance. It’s cold! The tremor wears me out. I just want it to stop. Warm me up! I have vertigo, I sway.

Im-bilico is a duet that takes life from a strong interest towards those conditions that prevent us from moving how we wish to, from touching the other as we desire and that oblige us to surrender to the fragility of our bones, nerves and muscles, a kind of fragility that melt together with our emotional weakness. Only with the strength that we nourish every day from the deep inside and only with the warm and embracing support of the people who really care about us, we can turn our vulnerability in delicate, powerful beauty.

2. TreTris

If you hold me tight I won’t escape, I can’t, you know that. The pain is unbearable, but I won’t scream. I let my body flood with this silent vibration that cradles the last blow of dignity that I have left. Maybe now, in few seconds, or maybe tomorrow, it will echo in your chest and it will loosen the grasp of your hands.

The production is inspired by Artemisia Gentileschi’s story, an artist of the VII century. Her carrier was obstructed and her dignity was violated by another artist Agostino Tassi who raped her.
The piece tackles two main themes:
The physical and psychological violence in familiar and close relationships.
The arrogance and pride towards minors and minorities in power games where, at the end, there is no winner.

3. MIA

Do you think you can really own me? You took everything away from me. I don’t know where I am anymore, I don’t know who I am. But, now, whom are you with? 

“Everything that is worth for me, it is worth for others. While I try to get rid of others’ influence, the other tries to get rid of mine, while I try to dominate the other, the other tries to dominate me”

– Being and Nothing – J-P. Sartre 


Avec Moi is an analysis about loneliness and the contradictory reasoning that pushes us to be constantly in search for our spaces and individualism, but, at the same time, to look for someone to share our identity with. On one side, there is the need of independence, freedom and self-affirmation, on the other side, there is the physiological human necessity of being loved, accepted and recognized.
In our society, these two necessary and contradictory aspects don’t live together peacefully. The characters who inhabit Avec Moi are lonely souls, restless, unfulfilled. They live the rooms of their routine with hysteria accompanied by constant and obsessive questions in search of untraceable right and universal answers. They look for each other and then they reject their reciprocal presence. A compulsive research often mixed with anger which, maybe, is inevitable for certain romantic, delusional spirits. Even if being alone can make us better persons and oblige us to reflect on ourselves, it can be also true that, as Galimberti says, “living alone impoverishes our feelings” and makes us forget what responsibility and care mean. After all, Aristotele affirms in its masterpiece Politica: “Man is the most social animal compared to any bee or any other animal that lives in herd”. But, how much does it cost to let our independence go away?  
Avec Moi moves as a ping-pong ball between these two opposite sides, necessary to each other in human life, without choosing a winner. 

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Picture by F. Zanoni

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Picture by M. Beberi

ROUGH Origins and Ruins

Andromeda walked through the humid and dense haze in the alley behind her house. Without warning, halfway before reaching the market, she had to lean on a fountain to rest her sore body. Her dress merged with the fountain’s stone, and right there a long memory was triggered about the price she had to pay for her mother’s arrogance. The memory also conjured up the image of Perseus who cried out her name while she was chained to the rocks in the midst of the ocean. He called out: “your body doesn’t deserve these knots” (Metamorphosis – XII – Ovidio). At that time, Andromeda, feeling exposed covered her nudity and her painful rope marks, as if not a moment had gone by since her captivity. She could still hear the sound of her deafening cry while the youthful strong hero offered to save her in return for her hand. In an instant, her ruin became the ruin of her future husband. They merged their souls to heal painful fractures and give life. A long time has passed since their first encounter, yet, on the palm of her hand touching the fountain, she can still feel the crashing roar of the ocean and the exact coldness of the rocks that imprisoned her. Now, several knots are untied, but not all of them, and the rock is merely a ruin, but it encompasses a noble encounter that, after the market, happens again and again.

Direction and choreography: Seesaw Dance Company in collaboration with Compagnie Voix.


Gabriele Ang Dadula
Margherita Bergamo
Veronica Boniotti
Jasmine Bresciani
Ambra Calvia
Federica Danaj
Beatrice de Carli
Chiara Ferraglia

 Original music


Marco Faglia – Maestose Vestigia
Antonio Fracchetti – Barbiturico 1
Daniele Grott – Origine
Marco Ober – Reunion
Sebastiano de Salvo – Rovine

The original music is performed live by an orchestra.

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Illustrations by Francesca Frongia @iosonofrafro


Dammi un Nome is inspired by Six Characters in Search for an Author (1921, Pirandello) and it is an interactive show where the audience becomes author and choreographer. How? By filling up a card with spaces to: write a word; leave a sign/mark and choose a colour. The dancer becomes filter of the experience and the sensations read in the choices of the audience. The performance creates a true exchange between dancers and spectators and it aims to be a combination of wishes and subtle needs both of the audience and the performer. So, the mise-en-scène will be a fusion of the imaginary of the author and the interpreter through a non-verbal dialog and a shared process of instant creation.
Our name is fixed, it is the same for our whole life, but it states for something that keeps changing: us, with our feelings, our aspect, our experiences. In this endless contradiction, the production wants to capture the moment in which different people and identities made of desires, passions, regrets, preferences, fears, affects and sensations, meet and touch themselves. In fact, the core of Dammi un Nome is the intimate encounter between the instinctive desire of the spectator and the performer.


G. is 28. He is neither an adult, nor a young guy anymore. In this grey zone, just before the adult age, he finds himself to value his resources and to face his limits.
ALL MY SHIT is a shared auto-analysis with the audience in which G. gets out everything: his education; his failures; his familiar conflicts; his sentimental life and his duty to be the “good guy” that everybody ever wanted him to be. From all these things, it emerges the effort to measure himself with an imposed model, far from his identity: a recurrent dynamic, even more established today with the use of the social networks. He will end up talking with another “him-self” who will encourage him to reflect on what is really worthy and what it is urges to get rid of.

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Picture by Martina Monaco

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A piece by and with Giuseppe Claudio Insalaco

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Picture by M. Beberi


The production takes life thanks to a collaboration between the Seesaw Dance Company and the composer-pianist Sebastiano de Salvo.
The piece is inspired by a poem by Alda Merini “Colori” and by Claudio Verna’s paintings. From these starting points, it arises the need of reflecting together on the feeling of powerlessness, that feeling that at times – a tratti –  walks with us going along our life.
A dialog between the sounds of the body, live music and movement to deeply comprehend the different features and shades that the feeling of powerlessness can take.
It can be a huge brake or an engine, we can decide to transform it or to be subjected by it, to surrender or to ride on it, instead.


“..viene su, a differenza delle altre gocce che cascano perpendicolarmente, in ottemperanza alla legge di gravità, e alla fine fanno un piccolo schiocco, ben noto in tutto il mondo. Questa no: pian piano si innalza..”   

– I Sessanta Racconti – Dino Buzzati

What does it happen when the absurd bursts into our lives? What does it unleash? Where does it lead? The Drop captures the absurd that bursts into the life of five people: a saleswoman; a writer; a painter; a computer scientist; a taxi driver. Their solitary routines will be shaken from an extra-ordinary event, a drop that goes up, shameless, transparent. Every character will react in a different way but the desire of authenticity will raise in all of them. By blending together their true personalities they will discover that one can be the complement of the other. So, lively, playful, pure and wild bodies will tell their stories and they will shape the space around them.

The Drop speaks about the absurd that, as much as it can be frustrating, devastating and unsettling, can also be the opportunity to change our perspective of the world and to awaken some hidden aspects of ourselves. It is a path towards individual and collective authenticity that is intended, in Heidegger’s terms, as something that is built moment by moment and where the true self is an ongoing narrative based on feelings, desires, actions, choices, and the contact with the people we encounter and love.

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Picture by J. Gutu

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Picture by E. Lattanzi

Autòs - Entòs (an extract of THE DROP)

How does it mean to be authentic today? The composition is inspired by Heidegger’s idea of authenticity developed in his masterpiece “Being and Time”. How does it feel to be authentic? How this feeling changes and takes shape? Which roles play context and society? What does it really mean to be inauthentic?




Spin Time Labs (Roma)

+++ Postponed due Covid emergency +++


Daylight Tempio del Futuro Perduto (Milano)

+++ Postponed due Covid emergency +++


Video audition for the festival Fantasio – Teatro di Villazzano (Trento)

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– The Face Festival (Padua, 2017)
– ENIGMAFest (Rome, 2018)
– CorpoMobile (Rome, 2018)
– MarteLive (Rome, 2019)
– Religion Today Film Festival (Trento, 2018 – 2020)                                        – Ledro Land Art (Valle di Ledro, 2020)                                                               – Festival Poé (Trento, 2020)                                                                                 – Vuoti d’aria ( S. Benedetto del Tronto 2020)


– Auditorium Fausto Melotti – MART (Rovereto, 2017 – 2019)
– Sanbàpolis Theatre (Trento, 2018) 
– San Marco Theatre (Trento, 2018)
– Gustavo Modena Theatre (Mori, 2019)
– Anphitheatre Rocca di Riva (Riva del Garda, 2019 – 2020)


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Veronica Boniotti


Scholarship Alvin Ailey, Broadway Dance Studio, Steps Dance School (NY)

Graduated in Philosophy at La Sapienza and at the Dance Arts Faculty (Rome)

Studied at La Sorbonne University and the Centre du Marais (Paris)

Graduated in Philosophy and Cognitive Science, and Psychology at the University of Bristol
Studied at the Hamilton House and Tobacco Factory (Bristol)

Studied with Monteverde; A. Whitley; Zappalà; M. Lucenti; O. Naharin

Dancer for C. Felicioni; M. Morau La Veronal at Oriente Occidente Festival; Skandalisi Dance Company at FIDCDMX Festival; R. Ferrara  

Expert-Choreographer for the project Danzare con l’altro at CID (Rovereto)


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Giuseppe Claudio Insalaco


Studied at Opus Ballet (Florence) and Teatro Studio (Scandicci)

Graduated at DAMS Discipline of Arts, Music and Show (Florence)

Studied with Eugenio Barba, Vincent Riotta, Stefania De Santis, Massimiliano Civica, Massimo Di Michele, David Zambrano, Shen Wei, Marta Ciappina, Giovanni Di Cicco

Dancer for Cie-Twain Physical Dance Theatre (Rome)

Dancer for the Ensamble Dance Company by Hayley Matthews (London)

Actor and dancer for Graham Vick; Luciano Melchionna; Giancarlo Sepe; Paolo Sorrentino; Davide Livermore; G. Cauteruccio; Michela Lucenti Balletto Civile  

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Chiara Ferraglia


Studied at Choreutic High School “F. A. Bonporti” (Trento)

Dancer for 3D-Dinamiche Company at the Oriente Occidente Festival (Rovereto)

Dancer for Vasco Rossi (Rome and Milan)

Graduated at the ArtEZ Institute of the Arts (Holland)

Dancer and Choreographer for Skandalisi Dance Company (Holland)

Dancer for Provincial Dances Theatre Yekaterinburg (Russia)

DanceAbility Teacher and Movement-Dance Therapist (formation in course)

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Federica Danaj


Studied at Choreutic High School “F. A. Bonporti” (Trento)

Studies Psychology and Cognitive Science at the University of Trento

Studied contemporary dance with F. Manfrini and others (Trento)

Studied ballet, GAGA, Hatha and Ashtanga yoga, and hip hop (Holland)

Dancer for M. Morau La Veronal at the Oriente Occidente Festival (Rovereto)

Ballet and contemporary dance teacher (Riva del Garda)

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Ambra Calvia


Studied at Choreutic High School “F. A. Bonporti” (Trento)

Contemporary dance teacher-assistant at Club la Fourmie (Trento)

Dancer in the Club la Fourmie contemporary dance company by D. Zampiero

Participates to national and international competitions with the crew Hininga 

Choreographer and dancer for the Season of the Cinema G. Sartori Theatre

Dancer in the music video La voce del silenzio for the Alta Posizione Crew

Certified Bachata Fusion teacher – “Bachata Fusion Academy” (Milano)

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Jasmine Bresciani


Studied at Choreutic High School “F. A. Bonporti” (Trento)

Studied contemporary dance with F. Manfrini and others (Rovereto)

Selected for the WhatWeAre international contemporary dance showcase 

Scholarship at the MUC Musik and Kunst Privatuniversitat der Stadt (Wien)

Studied hip hop with Ang Patrick Dadula (Trento)

She was finalist at Italia’s got Talent with the hip hop Powa Tribe crew

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Sebastiano de Salvo


Studied piano with M° F. Consoli at the Conservatory “F. A. Bonporti” (Trento)

Studied composition with M° C. Colazzo at the Conservatory “F. A. Bonporti” 

Masterclass in Condactorship with M° Julien Salemkour (Berlin)

Conducted the Euroregionale Alpen Classica Orchestra (Bressanone)

Played at the Sri Lankan ambassador residency (Berlin)

Principal Conductor of the young Euthaleia Orchestra (Trento)


+39 3889475178

+39 3483113398



Contemporary dance and physical theatre workshop. Starting from September 2020.