I began my studies at Il Cantiere Teatrale and expanded my practice into Lecoq-inspired movement training, Commedia dell'Arte and mask theatre, mimodynamics and movement analysis, clown and bouffon, and somatic practice through the Feldenkrais Method®.
Movement, Theatre & Creative Inquiry
I am an actor and movement pedagogue based in Rome, teaching internationally across Europe, Canada, and the United States.
My training has been shaped by diverse theatrical traditions and by master teachers such as Amy Russell, Norman Taylor, Philippe Gaulier, Lassaad Saidi, Carlo Boso, Antonio Fava, Miguel Ángel Gutiérrez, Mai Rojas, and José Piris Pereda.
Biography
Background and training.
I also draw from years of martial arts and basic acrobatics, which shape my sense of rhythm, coordination, and physical intention: essential tools for any performer who works primarily through movement.
Today, I teach physical theatre and mask workshops internationally, helping artists refine their awareness, broaden their creative range, and build a confident, expressive relationship between body and stage. My goal is to support performers as they discover what moves them -- literally and creatively -- and to guide them toward a grounded, imaginative, and personally meaningful physical practice.
Teaching Philosophy
Movement as Inquiry, Creation as Practice
I see the actor not as a container to fill, but as an artist with a physical intelligence already present in their body: an intelligence that can be sharpened, questioned, and expanded.
Attention & Awareness
Training begins with attention: shifts of weight, the influence of space, the quality of someone else's movement, or the impulses emerging under pressure. This kind of noticing turns performers into active decision-makers and fuels authentic creative choices. Awareness isn't decorative: it activates imagination.
Movement With Dramatic Purpose
In my approach, movement always carries intention. Direction, rhythm, tension, and flow become compositional tools, shaping emotional tone and narrative structure. Through analysis and exploration, actors learn that movement can think, argue, reveal, question, and transform.
Physical Imagination
Creativity grows when performers allow their bodies to explore alternative logics: unfamiliar dynamics, unusual rhythms, and non-habitual states. This work expands expressive possibilities, making space for new forms of character, atmosphere, and theatrical presence.
Mask Work
Masks require clarity, precision, and physical intention. Neutral masks, larval forms, expressive masks, and half masks shift attention away from facial expression and toward the body as the primary carrier of meaning. Mask work cultivates boldness, responsiveness, and new ways of understanding space and rhythm.
Feldenkrais Method®
As a certified Feldenkrais practitioner, I guide performers toward greater ease, coordination, and intentional movement. Somatic work helps reduce strain, refine choices, and support sustainable physical practice: essential for long-term training and performance.
Beyond Human Movement
Exploring non-human dynamics -- instinctive, mechanical, elemental -- enriches physical vocabulary and deepens sensitivity. This research helps performers break habitual patterns, opening space for empathy, humour, and imaginative transformation.
Teaching Story
Teaching philosophy.
"My teaching philosophy is based on play within the group and on creating a space that is open to experimentation -- and also to mistakes -- with the understanding that mistakes lead us to learn something and should not be demonized. I believe that a class in which people feel free to try, and even to 'be terrible,' is a class that is free to discover itself."
"I try to be the first to step into this mindset, bringing a teaching style that is warm, smiling, and present, yet firm when necessary so that students can truly learn. I aim to stay close to my students, so they feel supported and open to listening to what is being offered to them."
"Perhaps also because of my relatively young age, I do not yet feel the need to build that large wall that often stands between teacher and student. I believe that breaking down this 'fourth wall' between myself and the student helps me better understand what they truly need."
Ideal Student
Someone willing to step up and put themselves on the line.
The willing
Someone who is not afraid to get their hands dirty. This does not exclude people who feel insecure -- on the contrary, they are the best to have in this kind of work.
The insecure
As someone who is insecure, shy, and introverted himself, Ivano found in "masked" play the freedom to express himself and then bring that freedom into real life.
The curious
"I do not believe that theatre is therapy, but I do believe that physical work leads to changes we can truly feel, allowing us to discover something new about ourselves."
In The Studio & On Stage
Gallery
