Nicoletta Cappello (1989) is an Italian theatre maker and pedagogue based in Madrid
Graduated in Physical Theatre at Real Escuela Superior de Arte Dramático de Madrid (2016). Exchange student at Folkwang Universität der Künste Essen (2016). Master Degree in Performing Arts at UCM Madrid in 2018.
She co-created the piece Paliques Femeninos researching body language clichés connected to gender, winner of the Prize Galerías (2015) of La Cárcel de Segovia and selected for the Festival Russafa Escénica Valencia (2015). Her solo piece Cricket Sound, about the body’s role in thinking process, was represented at Folkwang Short Cut Festival in Maschinenhaus Essen and in Feldstärke Pact Zollverein. In 2016-2017 she worked as director assistant of Emma Dante and as creative assistant of Chiara Guidi at Teatro Comandini- Societas Raffaello Sanzio. In 2018 she co-created with Kira Anzizu the piece Dramasofía, researching on how to explain philosophical theories through theatre pedagogy. Dramasofía won the Prize Citofonare PimOff Milano 2018/2019, between more than 300 applicants coming from 30 different countries. Dramasofía also won the Residency Prize of FabraiCoats- Fábrica de Creación Contemporánea Barcelona (2018), the Prize for Contemporary Creation PremiBorn Menorca (2019) and it was selected for Festival of Contemporary Theatre Presente Futuro of Teatro Libero Palermo in 2019.
In 2019 she directed “Playlist” a piece devised during a creation workshop with actors with disabilities.
Nicoletta founded a pedagogical project Let’s get physical a physical theatre workout for imagination for everybody, realized in collaboration with different educational institutions: the Summer School of Accademia d’Arte Drammatica Paolo Grassi of Milan (2020); Complutense University of Madrid (2019) and Bolonia University (2018).
She is currently researching in Stato Vegetale a work in progress awarded with the Extraordinary prize Carlota Soldevila for the creation at the distance of Theatre Lliure Barcelona (2020).
In a post-humanistic and materialistic era, to achieve real knowledge about something essential we have to involve the body in the process. When the body is involved, the learning process is transformed into sensory memory. Art can teach us a lot about sensory learning. Teaching is the most effective learning in practice. Teaching is acting. To act is to learn. Learning is acting. To act is to teach.
I believe that art has the power to change our attitude towards the complexity of life, integrating perception with our critical consciousness, to build more sensitive, responsible and respectful behaviors towards the environment.
My personal research focuses in widen performance impact on the public, by devising new participatory artistic and cultural forms, with three objectives. The first one is anchoring cultural reflection to experience, to build a knowledge that involves the body. The second one is renewing the forms of theater by broadening its base of participation and creation. The third one is spreading art practices that can sirve as an exercise for more participatory and creative social life.