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Marta Bevilacqua
PRESIDENT/CO-ARTISTIC DIRECTOR
President of the Arearea association, she is involved in relations with institution sand festivals. She is a choreographer, trainer, and dancer, as well as the artistic director of AreaDanza, an urban dance festival.
EDUCATIONAL EXPERIENCES
Since 1998 she has been a steady collaborator of Compagnia Arearea, of which she is now Co-Artistic Director and President, and furthered her training at the Accademia Isola Danza in Venice, directed by Carolyn Carlson, while also earning a degree in Philosophy under Professor Umberto Galimberti with a thesis on the Symbolic Body. She has performed as a dancer with research-based companies including Adarte, Aldes, Balletto Civile, Ersilia Danza, Naturalis Labor, TPO, CSS Teatro Stabile d’Innovazione del Friuli Venezia Giulia, and VersiliaDanza.
CHOREOGRAPHIC EXPERIENCE
Among her most acclaimed choreographies: Nec Nec (Anticorpi Explò); Organon_sull’ingombranza del pensiero (Premio Equilibrio); Innesti_il corpo tecnico; Ruedis_ruote di confine.
She has been involved in the following international projects: Luoghi Comuni (Lieux Publics), with the performance Dafne_per una mitologia urbana (2011); the “Writing site by site” project in Graz, for the international platform IN-SITU, for which she created Panta Rei_per una filosofia urbana (2012), co-produced by the Reggia della Venaria Reale (Turin). Her project Oltre La Luna (2012) was also produced by Dance Channels, a European platform supporting new choreographers, spanning Zaragoza, Manchester, and Genoa. In 2016 she authored two segments (Summer and Winter) in the urban production Le Quattro Stagioni, a project devised together with Roberto Cocconi, with whom she co-authored the 2017 theatrical version, Le Quattro Stagioni_from Summer to Autumn, a show selected for the 2017 NID Platform.
Her most recent works include: Schnurrbart Fritz secondo Lou; Play with me; Morfeo (Network Anticorpi XL – CollaboraAction Kids 2018); Concetti Sfumati ai Bordi (2018), Il Rovescio (2019), and Homing (2020) — supported by the HangartFest festival for new contemporary performance over the course of three years — I mille fili di Arianna (2021), Frammenti d’amore (2021), Lend me your ears (2023), Dancing FOUR Peace (2023), MUSE (2024), OZ (2024), and Lo Schiaccianoci (2025).
She co-authored, together with Roberto Cocconi, the production marking the company’s thirtieth anniversary, BO.LE.RO (2023). She co-authored ESTREMO REMOTO_piccole danze d’archivio (2024) with Stefano Mazzotta (Zerogrammi). She co-authored Le Vie di Carta (2025) and Cieli di Carta (2026) together with Loredana Parrella and Yoris Petrillo (Twain).
OTHER CHOREOGRAPHIC EXPERIENCES
She has collaborated with RICCI/FORTE as company coach for La Ramificazione del Pidocchio (2016), and created the stage movement for the opera Turandot for the Macerata Opera Festival 2017, which opened the Sferisterio – Macerata Opera Festival season (2017), and for La Mano Felice_Il Castello del Principe Barbablù, a diptych staged at the Teatro Massimo in Palermo (2018). In 2019 she created the choreography for Nabucco, staged at the Teatro Regio di Parma for the Festival Verdi. In 2020 she created the choreography for Marino Faliero, staged at the Teatro Donizetti in Bergamo for the Festival Donizetti Opera 2020. In 2022 she created the choreography for La forza del destino, staged at the Teatro Regio di Parma for the Festival Verdi. In 2026 the agency Marcadè, specializing in the production and creation of special events for luxury brands, commissioned her to create the stage movement and choreography for a private event for the jewelry house Van Cleef & Arpels, held at the Théâtre de Chaillot, in partnership with Chaillot – Théâtre national de la Danse and artistic director and choreographer Rachid Ouramdane.
MISSION
Adaptability and a fascination with risk lead her to take part in educational and social projects rooted in everyday reality. This allows her to practice dance in a craft-like way, studying the human being, and to keep her critical perspective attuned to the times. Her choreographic style is defined by the combination of gestural research and thematic necessity. Her creations draw on philosophical references expressed through a contemporary, authorial lens.
PEDAGOGICAL EXPERIENCES
She teaches contemporary dance at advanced training centers including the Civica Accademia d’Arte Drammatica Nico Pepe in Udine, the Accademia delle Diversità in Bolzano, Lo Studio in Udine, BorGO Live Academy in Gorizia, and the Scuola Teatro Stabile Napoli.
She is a tutor lecturer for the “Performance” section of the Master’s in Communication and Non-Verbal Languages at Ca’ Foscari University of Venice.
