Filippo Buonamassa

Filippo Buonamassa is an Italian choreographer, performer and movement researcher, working across the European dance scene. In the autumn of 2026, he will be working as an artist in residence at HUIS Conny Janssen Danst on the initial steps of the creative process for an autobiographical work. For this, he draws inspiration from a personal experience that fundamentally altered the relationship with his own body.”

Bio:
After graduating in Dance and Choreography from ArtEZ University of the Arts in the Netherlands, he worked as a dancer with Theater Regensburg and Theater Münster in Germany, and GöteborgsOperans Danskompani in Sweden. Throughout his career, he has collaborated with internationally renowned choreographers including Crystal Pite, Alexander Ekman, Emma Portner, Kor’sia, Tom Weinberger, Paloma Muñoz, Georg Reischl, Iratxe Ansa, Igor Bacovich and Luca Signoretti.
Alongside his career as a performer, Filippo has developed an increasingly defined choreographic practice. His work explores intimacy, memory, vulnerability and the invisible dynamics that shape human relationships. Rather than telling a story, his work seeks to create physical experiences in which movement emerges from an emotional necessity, balancing precision and instinct, structure and spontaneity. His choreographic works include I Genuinely Thought I Was Smiling (Theater Regensburg), Conchiglie, Zero Point (GöteborgsDanskompani), Not Yet Forever (Equilibrio Dinamico Ensemble), Knock Knock and Thanks, Ilaria, which was selected as a candidate for the NID Platform. He has also worked as rehearsal director for Wolf Spider, a production created through the collaboration between Kor’sia and ResExtensa Dance Company.

His artistic practice is deeply collaborative, integrating movement research, voice, writing and improvisation into the creative process. He is interested in creating environments in which performers become co-authors of the work, allowing their individual experiences and identities to contribute to a collective composition.

Alongside his choreographic work, Filippo leads workshops and creative laboratories for professional dancers and emerging artists, encouraging a practice rooted in curiosity, physical awareness and authentic expression. His research is driven by the desire to create work that moves beyond aesthetics, inviting audiences into experiences that are emotionally sincere, physically intense and deeply human.

About Filippo’s class:
Sensation & Physical Matter: Moving Through Instinct and Presence
The class is an open movement practice rooted in sensation, physical awareness and the individuality of each dancer. Rather than following a fixed structure, the
class invites participants to use sensing, feeling and experiencing as starting points for movement.
Through guided improvisation, movement research and physical tasks, dancers will explore different qualities, textures, dynamics and states, developing a deeper awareness
of how sensation can generate and transform movement. The practice encourages them to trust their physical impulses while remaining attentive to the space and to the other personalities in the room, allowing individual and collective experiences to continuously influence one another.
Alongside this research, Filippo will share choreographic phrases and movement material drawn from his own movement language. Dancers will experience the transition from open improvisational research to more structured material, exploring how a choreographic phrase can be approached not simply through reproduction, but through interpretation. They will be encouraged to bring their own physicality, intention and performative presence into the material.
The class offers tools for approaching improvisation, movement research, choreographic material and performance through a more sensory and instinctive perspective. By the end of the session, dancers will leave physically activated, creatively stimulated and more connected to their own movement instincts, with a heightened awareness of their individual presence and new possibilities for approaching movement and performance.