Balletto Teatro di Torino develops innovative productions, educational initiatives, and cultural engagement projects, fostering exchange with both the local community and a dynamic network of national and international partners.

A synergistic work between dance and music, inspired by Schubert’s timeless compositions, where sound becomes gesture and movement turns into melody. Four tableaux unfold like stages of a sensory journey, alternating between precision and impulse, dream and substance, passion and lightness. The initial energy draws moving architectures where the body explores tension and balance in a continuous dialogue with sound. Then everything becomes vision - a play of memory and imagination suspended between fairy tale and reality where dance sketches subtle, intimate, almost whispered emotions. Suddenly, rhythm explodes, the stage ignites with overwhelming pulses, and the choreography becomes fire, earth, roots, and passion.
Finally, the scene sinks into a liquid, intangible atmosphere, where bodies seem to dissolve into sound, between shadows and reflections - only to reopen in an explosive finale, as if to reaffirm the supremacy of physicality and the body over the mind.

“secondo quarto di luna” is a crossing. A threshold between what reveals itself and what stays in the shadow. Like the waxing phase of the lunar cycle, the performance inhabits the borderland between light and darkness, where fragility and strength meet and melancholy becomes a driver of possibilities.
Conceived and interpreted by Viola Scaglione, this work is born out of personal and artistic necessity: to give a body and a voice to a space that had been left in the dim light, avoided - as though visiting it meant breaking a fragile balance.
A space that now opens up, reclaimed not with arrogance but delicate determination - like coming back to oneself, an act of faith, a declaration of existence. In that inner space, where once there was the fear of disturbing, now arises the will to be: visible, authentic, present.
A vital, political, poetic act – taking root into one’s present, showing oneself whole even when incomplete, choosing to simply be there just as one is.
A dance about maturity and freedom that does not fear solitude, but faces it with courage. Supporting this exploration is a constellation of women brought together through a profound creative affinity. As co-director, Silvia Gribaudi guides the protagonist beyond the boundaries of the familiar, transforming even fear into a space of freedom. As movement coach, Marta Ciappina translates movement into narrative, weaving an intimate and sensitive physical language. With her embracing perspective, Doriana Crema holds together the fragments of the creative process, illuminating hidden connections and emerging meanings. As creative producer, Ewa Gleisner accompanies the artistic vision with clarity and care, interlacing structure with sensitivity.

PETIT#2 is an exercise, a continuation. Something has already happened. Something has already ended. Something has just begun. Four performers. If history is cyclical, perhaps even predictable, how can we change it and possibly alter its consequences?There are twelve partner actions in total, all emerging from the search for contact between two hands, and twenty-four individual actions. A connection born out of play. The movements unfold as if searching for a hypothetical "perfect fit," with or without the other. A need to remember and to repeat.
Each performer knows the entire choreographic score. How, and with whom, they choose to dance this code is entirely open, decided freely in the present moment of the performance. Costumes—and the way they are worn—are also left to the performers' free choice throughout the action on stage. The different garments are conceived as an accumulation of ideas, perhaps leading to the emergence of another self.The soundscape is composed of memories unfolding one after another, reworked through the transformation of the performers' own voices.Who are we within this accumulation of choices and possibilities? Who do we become? What identity do we embody? What remains in the end? Who is the other? What is my desire? My dance? Can we begin again through play in order to build something new? Are we free? Are we happy?

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This is an alarm call. This is an emergency statement. We are here and we are animals. Not ferocious beasts, but radical beings shouting for love, screaming for tenderness. Grabbing our skins, embracing our innards, sharing our bloods, fusing our tongues to speak a common new language of hope, giving voice to the invisible. Fill our cavities with light and sound.
Vibrating hunters fighting for unity and the survival of fragility. In a visceral reflection on the catastrophic state of humanity, a multigenerational international cast of nine performers, an army of lovers, will inhabit an empty space.
A wavering herd, shifting and morphing between human behaviour and animalistic instinct, will return to the core, releasing its hypersensitive tentacles, spreading its wings to empower the vulnerability of its physical presence. Trusting the ingenuity and instinctual intelligence of the child within, predators and prey will vanish.
Disruptive war games will be exposed and juxtaposed to emotional and sensual landscapes to reveal who the real beast is. When the game is rigged, we might need to break the rules.
An intricately layered choral choreographic work, in which carefully stitched together fragments will create an elaborate new embroidery, weaving together the purity of the body with powerful complementary audiovisual elements.
Accurate costumes will adorn, transform and deform the function and perception of the human figure in contrast with its bare skin. Lights will pierce the stage alternating from violent and exposed to nocturnal and ephemeral atmospheres, fragmenting the space to create unexpected intangible environments.
Like ancient archeological artefacts, all of these elements will be puzzled back together to create a new narrative, a profound contemporary vision. The alpha and the omega, the first and the last, the beginning and the end. A voice in the dark in a time of silencing.
In a time of ignorance and brutality, this is our manifesto.

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The body appears and gestures come to life.Fleeting images, invisible forces and distant echoes shape instants and unlock horizons. This solo is an intimate and powerful exploration of the dancing body and its presence in the here and now. What do we see when we look at a body in motion? How do we engage in a solo dance – as makers, as dancers, and as viewers?

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Umingmak is a choreographic reflection on identity and its contradictions, an exploration of the body as a container of past experiences. A shell filled with events, news, internal and external stimuli – therefore never natural, never original. And yet, it is original: our way of being human, of being in the world, is mediated and made fluid by all the experiences that are inscribed in our DNA and that we experience on and with our body. As biotechnological innovation pushes us toward the dissolution of the boundary between natural and artificial, humanity redefines itself in a fluid and always-shifting space. Umingmak embraces conflict – not to resolve it but to navigate through it. It embraces opposition – not to filter it out but to experience it within the complexity of today’s body.

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“Il vento è mitico, è pratico, è catarsi.
Il vento distrugge o trasporta, il vento è carattere invisibile dai visibili risultati.
Aliseo è un viaggio di trasformazione, senza inizio, senza fine."
Manfredi Perego

Aliseo is a constant, regular wind, like the desire to explore and dance. Wind is energy – it needs places, intentions, sometimes chaos in order to let its power emerge in all its intensities. Intensities are drawings of transformations. They transform the body’s actions by changing the landscape, just like the intensity of the wind.
Study for Aliseo is a transporting, disruptive, transformative dance.
An ode to the invisible power of desire – constant and changing – that passes through bodies and guides them toward new shapes..

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Lost man
navigates silences
in dynamic time


There is the body’s dynamism and emotional dynamism. The union of these two dimensions generates a wave-like choral movement that acts as the glue between physicality and emotion in my choreographic research.
Dedica al Dinamismo is not meant to be purely physical, nor purely interpretative, but a clash of both dimensions. A clash that generates the undefined. Choreographic relationships and dynamisms are created – they alternate in a painting, changing the nuances and atmosphere of the scene.
Dedica al Dinamismo is putting oneself on a completely unstable plane in search of stridency and harmony, of dynamic encounters, to see when the epidermis produces heat or storm.

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Moti nel Mezzo is a journey across the void and its transformation - a space vibrating with tensions, memories, and inner battles.
The dancers move like fragments of an incomplete universe, oscillating between what was and what hasn’t yet been in a flow of gestures that gather around an invisible center. Looks converge on a mysterious circle - the border between known and unknown, between light and shadow.
Through a choreography that alternates between bursts of energy and fragile suspensions, the body explores the tremor of space and the movement that persists even when everything seems to stand still. Moti nel Mezzo is a sensory and poetic experience - an investigation of the invisible tracks left behind by every transit.

PRODUCTION SELECTED FOR THE NID PLATFORM 2025

In SISTA resonates the strength of an intimate and universal name: sister. Not a title, but a declaration of belonging, a chosen alliance. A word that vibrates between the two performers, Marta Ciappina and Viola Scaglione, as an affective and symbolic code that shapes the stage. Between sisters – even when blood does not bind them – it is said that an invisible thread flows, woven from ancient cooperation, from shared shelters, from silences that speak. It is an ancestral pact, where a gesture becomes a primordial word and memory takes form in the body.
Thus, sisterhood – whether biological or elective – traces a common territory: a fragile and powerful place where one can recognize and choose each other, while together cherishing the secret of a belonging that generates strength, care, and freedom.


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The studies on Bach are a training ground for choreography - an ever-changing, always-evolving choreutic space.
The choreographic challenge is to give visual and dynamic concreteness to the emotion expressed by each note, capturing the nuances of Bach’s music by translating into dance the process of emotional analysis suggested by the musical score. The violence and sweetness arising from the vibration of sound find physical correspondence, generating dances that travel through worlds of new carnal frequencies.
The live music sews the dancer’s epidermis to the space, pushing them to a more radical level of interpretation and listening. At the same time, the air moved by the bodies impacts the musicians, making the effect of dance on sound itself tangible.

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#SOUNDSCAPE is a constantly evolving performance in which dance and music intertwine in a living dialogue: every gesture generates sound and every sound becomes movement, in an endless creative cycle. Guided by practices of instant composition and improvisational scores developed in deep resonance with the music, the dancer frees herself from predetermined patterns and choreography, embracing an open, fluid, and continuously transforming territory of movement. The performance generates questions, constructs meaning, and creates new or renewed connections.
The spaces in which the work comes to life do not merely serve as a backdrop; they actively shape the performance itself. Architecture and environment become partners in the creative process, turning each presentation into a unique experience in which body, instrument, and place remain in constant dialogue, revealing ever-new dynamics of movement and sound.

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The state of “limbo” between the real and the imaginary, between erotic fantasies and sober reality, described by Mallarmé in his poem L’après midi d’un faune, inspired the creation of the eponymous, groundbreaking choreography by Vaslav Nijinsky in 1912. More than a century later, the same fascination inspires Mauro de Candia to explore the figure of the Faun – a half-animal, half-human being.
Faun* cautiously approaches the mysterious essence of this sensual creature, which covets reality in order to uncover and unleash its dynamic power. The various states of the Faun’s body and mind, its metamorphoses, give rise to questions: Is there not a Faun in each of us? Is it not an allegory of our times, when bodies and identities are constantly being reinvented and reexplored?

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