The Program
ANFIBIA – A Fluid Ground for Contemporary Creation
ANFIBIA is a space of transformation, a living environment where artistic training becomes a radical practice, a daily act of research, and a political gesture. A transdisciplinary program that breaks down boundaries between dance, physical theatre, voice, music, circus arts, dramaturgy, and theoretical practices—giving life to autonomous, complex performers capable of generating hybrid works deeply rooted in their time.
Born from the desire to shape artists who can act with awareness on the contemporary stage, ANFIBIA is an active learning ecosystem: here, the body becomes a laboratory, the group a creative community, the stage a field for experimentation and vision. The program does not merely provide skills, but tools to inhabit uncertainty, expand languages, and traverse the present with a critical eye and a responsive body.
An Immersive and Transformative Experience
ANFIBIA unfolds through an intensive and dynamic calendar: daily physical practice, immersive modules, theoretical laboratories, practical explorations, and performative sharings intertwine in a dramaturgical flow that evolves alongside the participants. The training moves fluidly between technical work and poetic research, between discipline and intuition, between structure and creative impulse.
Each day is conceived as a time of opening—towards listening, risk, and transformation. Disciplines are not taught in parallel but constantly contaminate each other, generating new, unclassifiable, and fluid forms. The performer is not trained to replicate, but to build: visions, devices, questions.
Creation as a Necessary Act
The beating heart of the program is original creation. Each participant is guided, supported, and provoked to develop a personal or collective performative project—from the initial spark to public sharing. This organic, unstable, generative process becomes a tool for defining one’s own scenic voice, language, and urgency.
ANFIBIA believes in a form of training that shapes not only the gesture but the vision: that rare capacity to sense what does not yet exist, to create works that question the present—works that are fragile, powerful, contradictory.
A place, a community, a horizon
Hosted in the city of Bologna a vibrant hub of cultures, movements, and creative networks ANFIBIA is also a relational space: a meeting ground for artists, mentors, teachers, and guests who share tools, doubts, methods, and perspectives. It’s not just about learning it’s about building conscious artistic communities, capable of acting together in the world and in time.
ANFIBIA: An Essential Proposal for Artistic Training
In today’s landscape of contemporary performance education, there is a growing need for programs that transcend traditional and compartmentalized models responding instead to the complexity of our time. ANFIBIA emerges in this space of urgency and possibility: a transdisciplinary device that refuses training as mere transmission of technique, offering instead a path of profound, poetic, and political transformation.
ANFIBIA stands out for its ability to merge rigor with openness, vision with practice, technique with intuition. It does not train mere performers, but artists capable of producing meaning, crossing disciplines, and crafting works that speak directly to the present. At the center of the process is the body not only as a performative tool, but as a critical, sensitive landscape shaped by experiences, thoughts, and identities.
Unlike vertical or disciplinary educational models, ANFIBIA offers a porous and dynamic structure, where dance, theatre, voice, music, acrobatics, dramaturgy, and theory come together in a shared space open to contamination and hybridization. Days are not broken into subjects, but crafted as evolving landscapes where practices converse, challenge, and nourish one another. It is within this space of friction and encounter that a new performative grammar can emerge.
Another distinctive trait of ANFIBIA is its emphasis on the group not as a cohort of students, but as a temporary creative community, a living organism fueled by alliances, differences, and shared visions. Within this relational context, participants learn not only to shape a personal artistic language, but also to collaborate, listen, and expose themselves developing a situated and conscious practice.
Creation is at the core of the journey not as a final showcase, but as a continuous process intertwined with training from the beginning. Participants are guided in developing original works individual or collective born from daily practice and shared with audiences in real performance contexts. This movement from research to public sharing is framed as an exercise in artistic responsibility, a genuine act of exposure.
But what truly sets ANFIBIA apart is its ability to shape artists who know how to stand in the world not just on stage. Each practice, each exercise, each conversation is infused with fundamental questions: What does it mean to create today? What responsibilities come with representation? What new forms can we imagine?
The stage becomes a site of resistance and reinvention a space to act with courage, vulnerability, and vision.
In a European landscape where many institutions are beginning to embrace hybrid and multidisciplinary approaches, ANFIBIA positions itself as a radical and necessary proposition: a program that holds together artistic training, personal research, and cultural responsibility. A journey not designed to fit into a market, but to generate new ways of inhabiting creation.
Who ANFIBIA Is For
For those seeking a training path that is non-linear, porous, and rooted in experience.
For those who want to go beyond disciplinary boundaries, dismantle categories, and create through a multiplicity of languages.
For those who wish to develop an autonomous, embodied, and responsible artistic practice.
For those looking to connect with a living network in which to shape their creative, human, and professional journey.
ANFIBIA is a necessary gesture.
It is the choice to learn how to change form, to dwell in the in-between, to create from what is not yet known. It is training, vision, and possibility.
program layout
- The program undergoes daily development, running from Monday to Friday, starting at 9 am and concluding at 3:30 pm, with a 45-minute lunch break. It encompasses a meticulously scheduled training plan featuring a weekly timetable with rigorous daily sessions.
- Typically, mornings are dedicated to a diverse array of disciplines, including, contemporary dance, floorwork, contact improvisation, composition, research, singing and vocalization, acrobatic movement, acting dance and drama, as well as classical ballet.
- During seminars, courses delve deeply into the subject matter and are structured with either a full-day or half-day schedule.
- Monthly workshops with renowned international choreographers are a key component, varying in duration from 4 days to an intense full week. The comprehensive program offers immersive training on a full-time schedule, spanning from October to May. Upon completion, trainees receive the Attendance Certificate for the Anfibia program.
- The program adheres to the official holiday calendar, with scheduled breaks on the following dates: November 2, 2026, and December 8, 2026. Additionally, a 3-week Winter holidays period in 2026 and a 1-week Spring holidays break in 2027
Seminars
- Individual management organization and artistic entrepreneurship with Lisa Gilardino
- Singing and performative movement with Cristina Zavalloni
- Set and costume design with Eleonora Peronetti
- light design with Francesco Massari
- Bmc® Body Mind Centering with Maria Martinez
- Anatomy of a Spiral with Arianna Pisano
- CORPO POETICO® Dance | Theatre | Disability | Integration with Anna Albertarelli and Roberto Penz o
- extra classes: Italian classes with Massimo Balducci
OUR GUESTS
Each month the program hosts international guests for one full week. This season we are proud to host 10 international choreographers who will contribute to the professional and artistic growth of the trainees.
BRANDON LAGEART
current dancer Peeping Tom Company
MARIGIA MAGGIPINTO
from TANZTHEATER WUPPERTAL Pina Bausch
TOMER NAVOT
Sharon Fridman practice INA
how to apply?
Admission is subject to invitation. To apply to the program, candidates will have to go through an audition which will
consist of a contemporary dance lesson, a choreographic class, and an individual interview with the staff.
Participating in the audition is free of charge.
If you have any questions about entry requirements or require further
information, please write to an*******@***il.com
