Just turned twenty, Adriana founded, in France, her own company that since its debut, unveiled the characteristics of her language; crystalline in its spatial and musical geometries, her dance is at the same time direct and powerful; bare and of effective dramatic impact; current and yet strongly rooted in memory; defined as the Avant-guard of the ancient folk by the dance critic Vittoria Ottolenghi.
During the years, Adriana’s choreographic work has increasingly become focused on the linguistic relationship between sound and movement and an anthropologic vision of the body. Her scenic writing, essential and greatly evocative, blends spontaneity and rituality, individualism and choral character. In her performances, the sound/movement becomes the instrument of an expressive gestural research which is, thus, poetic and dramatic. Adriana came to the turning point of this path with Progetto Catartico, which was the product of her studies and reflections on ethnographic resources; this is where her anthropologic vision of movement started to take shape and her new investigations began.
The need for work alive with music has allowed important collaborations with composers such as: Michael Nyman, Giovanna Marini, Massimo Coen, Daniel Bacalov, Giovanni Bacalov, Francesco De Melis…
For the same reason, musicians such as Alexander Balanescu, Coen and Bacalov have performed live in her shows.