La Vita comincia ogni giorno (Life Begins Every Day)
Letters from Rainer Maria Rilke (1875-1926)

“Towards the light, towards the new”.

Bettina Zecchi – Tessiner Zeitung

Every day is the beginning of eternity. Rilke understood.
And what about us? Do we understand? Life begins every day by Rainer Maria Rilke is a show that knows how to combine dance, theatre and music.
The dancer, choreographer and director Tiziana Arnaboldi has been able to breathe life into an unconventional, magical work which, as well as holding up a mirror to our traumatised and fear-obsessed society, also manages to offer comfort in a miraculous way.

Sabrina Melchionda – La Regione

At the end of Compagnia Tiziana Arnaboldi’s show
“Life Begins Every Day”, letters from Rainer Maria Rilke
(1904-1923), you feel the urge to look at each and every leaf with different eyes. And maybe launch a movement to rid society of all those blowers, the noisy, modern leaf-hunting machines that have supplanted the simple rake. On the stage, deliberately bare, a circular pile of earth and a piano.
The main characters, two dancers, an actor and a pianist; a sort of small orchestra in which a number of arts are playing together.
A show full of magic, wonder and beauty. All the performers are excellent.

Giorgio Thoeni – Azione

For the first time Tiziana Arnaboldi adds the playwriting of one of her shows to her well-established choreographic expertise. And the audience of Teatro San Materno in Ascona responded by flocking in.
It’s an inner journey, the experience being revealed at the time of death in the form of a rite of passage, the threshold towards a new life.
A profound, powerful and poignant show.


Autour du corps Omaggio al bauhaus / Around the Bodie

Giorgio Thoeni – Rivista L’Osservatore “The Observer” magazine

It is one of the best creations of the choreographer Tiziana Arnaboldi.
It embodies the outlines and the substance of a philosophical theatre without formal ambiguities, where dance becomes pressing in its architecture, deconstructing itself around a circular, insistino, constant and hypnotic plot, which presupposes a breath, both cosmical and earthly at the same time. It is the metaphysical form of utopia in a surprising materialistic intersection in relation to space. The two dancers are stunning, perfect in the tiring, intense and beautiful task at the service of the Bauhaus workshop”.

Thomas Péronnez – Artistic Director of the Dance Cultural Heritage

“Autour du corps” (Around the bodies), the latest creation of the Tiziana Arnaboldi Company, is a magnificent allegory, sensitive and complex, articulated at different levels of apprehension of space, body and object. The sound scenery and the choreography are intimately connected, perfectly harmonious, like a circular movement, like breathing. And once again, this work cannot be missed! A beautiful example of Swiss-Italian workmanship”.
Antonio Mariotti – Corriere del Ticino
“A sum of constantly changing orbits that make the show highly hypnotic, and fascinating, also thanks to the sound commentary by Mauro Casappa. The choreographer and the two performers have the great merit of bringing to life surprising and unprecedented forms”.

Antonio Mariotti – Corriere del Ticino

“A sum of constantly changing orbits that make the show highly hypnotic, and fascinating, also thanks to the sound commentary by Mauro Casappa. The choreographer and the two performers have the great merit of bringing to life surprising and unprecedented forms”.


Danza e Mistero, Omaggio a Charlotte Bara

Giorgio Thoeni – Azione
“The photographic beauty of the Belgian artist is set free on the large stage of the LAC in Lugano, transforming the statuesque rigour of the postures into a fascinating happening with contemporary dance. A large audience and a lot of applauses for Tiziana Arnaboldi with her excellent dancers”.

Mauro Guindani Corriere del Ticino

“… a dark cut-off, then a miracle of life suddenly bursts onto the stage, making it vibrate with energy, with love, with true, human, sacrosanct beauty.
Thank you, Tiziana, for existing, and for continuing your quest for the truth.

Margherita Gervasoni Il Grigioni italiano

“Each “picture” introduces the audience into a different emotional context evoking that spiritual part of thhuman being. A continuuos shift from light to shadow in the tension due to the quest for understanding the mystery.The audience is involved more emotionally than rationally in this manifestation of energy, of expressive and physical
strength that transforms the scene into an energy field in which bodies, space, sound, movements, looks and hands form a single entity aimed at expressing the inexpressible and making the invisible concrete”.


Dialogue of the arts – The motif of a dance
L`incontro di una coreografa e regista, di tre danzatori, di un poeta e di due musicisti.

Antonio Mariotti – Corriere del Ticino

“An almost perfect alternation and amalgamation that confirms how Tiziana Arnaboldi’s research is able to combine, often with unprecedented results, the creative potential of the different art forms she refers to the tension during the 60 minutes never drops”.

Giorgio Thoeni – Azione

“ The sound of stones and the motif for a dance, become a single choreographic performance and the sign of the artistic maturity of Tiziana Arnaboldi, who on this occasion reaches peaks of great intensity, a flow of empathy that sprinkles the two cerebral hemispheres with a harmonious dialogue between sensuality and concreteness”.


“To live means to go from one space to another without getting too hurt” Georges Perec

Giorgio Thoeni – Azione
“Spazi sospesi” (Suspended spaces), an unusual creation of Tiziana Arnaboldi, in which the scene is not only just for two excellent dancers, Eleonora Chiocchini and David Labanca, but in which the technological dimension intervenes in the space with its own particular poetry. It humanizes and transforms its presence letting the warmth of the feeling emerge in relation with the objects. A mirror that finds the image of concrete and brigt segments articulated by the computers that become programmed souls, essential corollaries by ingenious François Gendre’s ingenious devised work joined with original musical researches by Mauro Casappa. A perfectly assorted mix for an intense show full of ideas that has collected a deserved success and has awarded Arnaboldi`s research»

2012 – 2013

DENTRO JAWLENSKY / Inside Jawlensky

… in the intimacy of the in Teatro San Materno a game with self-sustained calls, exchanges, echoes is established between gestures, voices and sounds “Dentro Jawlensky”(Inside Jawlensky) is an almost totally abstract multidisciplinary performance that shines for clarity of ideas. A strong and at the same time elastic structur allow” Dentro Jawlensky) to present itself from the very beginning as one of the most interesting productions by Ascona choreographer, who found the courage to shift her contemporary sensibility with the artistic avant-gard of the early twentieth century.

Claudio Lo Russo – La Regione Ticino

A challenge, as it had been correctly defined by the choreographer Tiziana Arnaboldi. To enter Alexej Jawlensky’s world of painting getting to the heart of his creative genius, giving a shape at the creative strength from which Art arises.And all of this bringing together different languages .Forms: dance, music and painting.Certainly, if music and dance are the closer artistic forms to infinity, « Dentro Jawlensky » offers moments of great charm.

Giorgio Thoeni – Azione

Intense and complete performance.
An accomplished and enigmatic speech, which touches Jawlensky’s intimate and spiritual strings and finds the highest spikes in the geometric decompositions by playing with o colours and lights (Felix Leimgruber),the beautiful projected images (video by François Gendre), the music (guitar Mimmo Prisco), the percussion of Luciano Zampar and singing (Laure Barras,soprano) in full synergy with the danced path in the body breath of Eleonora Chiocchini and the plastic-acrobatic lightness of David Labanca.
… The show is presented in theatrical spaces and museums around half Europe.

Henner Lappe – Tessiner Zeitung

The performance was fascinating. A piece of great art in little Ascona.“ Dentre Jawlensky”, a performance overarching several art forms with image, music uns dance in the place where Jawlensky, Kandinsky, Klee, Charlotte Bara and the dancer Sacharoff had met over 90 years ago and discussed about how to bring together their different forms of artistic expression.

Thomas Nussbaum – Express

“A complete show, which mixes artistic forms, with Alexej von Jawlensky`s painting as a commonthread. Aesthetically beautiful, very poetic, with a thread that links the variety of the painter to the diversity of the danced movement, this show seduced the winter programmer,
François Nyffer ”.


ATTESA ni na na / waiting ni na na

Silvio Danese – Il Giorno-Milano / “The Day” Milan

… there is something absurd,humorous,in this paradoxical and at the same time disarming way of seeing life…dance becomes the supreme benefit for a text about emptiness that disappears becoming a fact, a movement, a step…”Swiss choreographer Tiziana Arnaboldi tackles the ( non) sense and the matter of Beckett’s pièce in order to open, with her skilful dancers, space and time of the “illusion of existing” in the emotional performance “Attesa ni na na”

Valeria Crippa – Corriere della Sera Milan

To breathe life, blood and flesh into an existence dangling in space. For Swiss choreographer Tiziana Arnaboldi, who trained in Paris with Carolyn Carlson and in Essen with Pina Bausch, the reason of waiting as condition of the being is grafted in the urgency of dance to take shape in emotions, even the most aseptic and static ones, making them concrete matter. Five good interpreters Giuseppe Asaro, Pierre-Yves Diacon, David Labanca, Françoise Parlanti, Nuria Prazak, wait that the God of dance reveals himself, while a sense of alienation, interrupted from time to time by a violin or a voice, infects the space and corrodes it.To punctuate the hypnotic score of gestures, three caps, one rope and one “ninnananna”.

Marco De Meo – Milano arte expo danza Milan

Tiziana Arnaboldi never leaves the spectator alone, even when she investigates and tells her personal vision of the waiting, moving between dramatic and ironic moments , intended and purely shinyl, in the constant attempt to fill up the void of waiting. She inquires about truth of action, depriving it of aesthetic frills in order to come to the essence of gesture, movement, silence. The dancers/actors; Giuseppe Asaro, Pierre-Yves Diacon, David Labanca, Françoise Parlanti, Nuria Prazak act in absolute freedom inside a dense choreographic score, creating continuously continuously creating pretexts to give themselves the impression of existing, and accepting that unsustainable sense of void about waiting. All with honesty and sensibility.

Claudio Lo Russo – La Regione Ticino

Tiziana Arnaboldi hat set herself free under the guidance of the deepest influences of Beckett`s imagery… fascinating choreographic solutions to enhance movement , all interpreters great. Symbolic, dramatic, ironic, total waiting. A waiting like existential condition, conviction or privilege. Its objects, with which actors skillfully weave the space and time of their suspended existence, are Beckett’s three hats are balanced between irony, absurdity and abyss and a door frame that define, since the beginning, the hypnotic variable, indefinite space of waiting …