I emphasize the dialog between inner and outer focus. Allowing oneself a certain amount of space for leisure and at the same time impartiality. The classes are geared to physical and intellectual impulses.
The aim is to integrate these impulses, to examine in a personal way the perception between the senses of the body, time and space, thus aligning the body with its centre and reducing the emotional-intellectual connection with movement to a common denominator.
Improvisation is not a technique that can be developed systematically. It is a free, personal and individual evolution. It means breaking with traditions and habits, motivated by an idea, looking behind yourself to find something new.

The classes in partnering are split into two parts. On the one hand we work with pre-defined movements from my repertoire; on the other hand I try to arouse curiosity through contact-improvisation by working with movements that they find themselves and develop spontaneously through improvisation.
Physical contact between two people, enabling them to communicate, to share experiences and to relate to each other, together with the skills of distributing their weight, falling, rolling to achieve a greater freedom in expression and communication are the foundation for our work.

danced for

- Felix Ruckert
- Anna Huber
- Charles Linehan
- Nick Hobbs
- Andrea Boll
- Roberto Galvan
- Philipp Egli
- Ivan Wolfe

I regard myself as self-taught and therefore my training is not based on any specific dance style.
The classes consist of exercises that resemble those of athletes, with additional elements from martial arts and break dance, whereby the model for movement is based on the technical foundation of contemporary dance
We begin with simple movements that help to bring together breathing and motion, that make it easier to interact with the body, connecting energy between centre and periphery. In the second phase I try to develop an awareness in which attention is directed to the quality of the movement and the interrelation with space. Above all, by continually shifting the centre, the exercises provide a means of optimizing movement to and from the floor.
During Cross-the-floor we practice clear alignment and the dynamics of movement in the body.

choreographed for

-Opernhaus Zürich (Jürgen Flimm)
-Residenztheater München (Simone Blattner)
-Stadttheater St. Gallen
-Ensemble Theater, Biel
-Company of Shadows
-Prix de Lausanne
-Tanzakademie Balance 1, Berlin
-Schweizerische Ballettschule, Zürich
-Tanz-Theater-Schule, Zürich
-National School for Dance Art Sofia

taught for

-Company Sasha Waltz
-Internationalen Tanztagen Salzburg
-National School for Dance Art Sofia
-Schweizerische Ballettschule Zürich
-Balance 1 Tanzakademie Berlin
-Etage Tanzschule Berlin
-DGI- Sport Zentrum Dänemark
-City Ballett Bangkok
-Tanzhaus Zürich
-Tanz-Theater-Schule Zürich
-On/Off Bern

• Choreography: Verdinero Nunzio
  Dancers: Magali Del Hoyo, Soo-Jin Lee, Marie Schmieder, Davide Bellotta, Marcelo Pereira
  Music: Florian Hecker, Musikcollagen von Davide Bellotta
  Assistance: Danielle Ana Füglistaller
  Duration: 75 Minuten
  
  About the work:
  About searching and waiting…
  I see sitting as a compromise between lying down and standing up; whilst sitting, I feel I am halfway between conforming and resisting. He who waits, sits. That is to say, he should be sitting, because, if he is lying down, he runs the risk of losing himself and missing what he is waiting for. If he is standing, firstly he will become impatient, and secondly overstrained, with the result, that if the expected should happen, he would only be able to misconceive it. Even dogs wait in a sitting position.
  Markus Werner
  
  Nunzio Verdinero selected five dancers of different nationalities from the dance company of the Theater St. Gallen. As a stage the Lokremise (roundhouse) offered the ideal model. The dancers find themselves in a waiting room. This can be anywhere: at an airport or a railway station, in an office or anywhere else. Everyone is familiar with this situation. One finds oneself in a mood of transition, a state of being in between. It stands for stagnation and development at the same time, for waiting and seeking. And it is therefore symbolic of our whole life. For somehow or another, are we not all on the way to somewhere?
  
  Performances:
  Premiere in the Lokremise St. Gallen 26th October 2007
  
  Further performances:
  30. October 4.,7.,9.,18.,20.,24., November 1.,2.,5., December 2007

• Choreography: Verdinero Nunzio
  Staging: Lavinia Frey
  Dancer: Verdinero Nunzio
  Actor: Patrice Gilly
  Music: Adrian Flutiger
  Duration: 55 Minuten
  
  About the work:
  We live at a time when we ask ourselves: what was fascism and what is fascism? Anne Michaelis faces up to the question of why in her novel. She analyses the Weltanschauung of fascism and finds images for particular incidents of the holocaust, that are not worn to threads and still shock. She pits love against despair. It is precisely here that the strength and the singularity of the text are to be found. The novel verges on the miraculous, because it “heals hopelessness and dances with loss.” (John Berger).
  
  It offers reconciliation and at the same time indicates that forgiveness is not possible, as those that could forgive are no longer alive.
  
  Performance:
  1998 Tanzhaus Wasserwerk, Zurich, Switzerland

• Choreography: Verdinero Nunzio
  Dancers: Sven Seeger, Jean Marc Lebon, Nunzio Verdinero
  Music: italienische Pornomusik aus den 70er Jahren in Cinecitta
  Duration: 20 Minuten
  
  About the work:
  Something to sit on, something to lie on and a sleepless night. Or how many angels nearby are ready to seduce, to curse, to help us, as determined by our desires and reinforced by our frustrations.In our search for answers time and again we come up against very basic questions. Alongside the meaning of life and who am I, where do I want to go to? Is there a God? It is also an open question as to where his helpers come from. This topic too raises more questions than answers.
  Are they male or female?
  How do they propagate?
  Are they armed?
  Can they dance?
  
  What is clear though, right up to the present day, is that we need them in our lives and call on them at all times, depending on the situation we find ourselves in. We paint them on ceilings, sing their praises, make up stories and, depending on our own fantasies, bestow super powers on them.
  
  Performances:
  Dance festival "Dancing in the Pink“ Zurich, Switzerland
  Dance festival "Springrolls“ Berlin, Germany
  

• Choreography: Verdinero Nunzio
  Dancer: Verdinero Nunzio
  Music: Fussballreportage in italienischer Sprache, Sonic Narcotic
  Duration: 15 Minuten
  
  About the work:
  That terrific football players play great football is beyond question; but what ought to be the focus are the people in front of the TV screen or in the stadium. These are human beings, most of whom have neither the physical strength nor the stamina to be able to play for 90 minutes, but on a verbal level can entertain themselves about football for a full 24 hours: my Sicilian relatives for example! They already know in advance if a high ball or an angled ball would have saved the game or not, when and how they would have had the best chance to foul and how on their own they would have scored a goal long ago if it hadn’t been for …
  
  And then this football heart, which every Sunday forces us to switch on the TV or the radio and makes everything beat faster for our team. For the following 90 minutes there are no commitments, no noodles, which can interfere with the course of the game through annoying chewing or a recurring lowering of one’s head. There are no women or screaming kids; one has the impression that God himself watches football in Sicily on Sundays.
  
  The solo shows a TV viewer interacting with imaginary events, while the sports reporter commentates. The dancer moves in a smart suit to football noise. Taking himself at his word he changes the room into a real football field until, totally exhausted, soaking in sweat and covered in mud he is interrupted by the commercial break. The spectator can imagine the end result for himself.
  
  Performances:
  1997 Premiere in Theatersaal Rigiblick, Zürich
  Dampfzentrale, Bern
  Théatre 2/21, Lausanne
  ADC-Studio, Genf
  Kulturwerkstatt Kaserne, Basel
  Teatro Dimitri, Verscio
  
  1998 7. Festival des Zeitgenössischen Tanzes, Heidelberg
  6-iemes Rencontres Choreograques Internationales de Seine-Sant Denis, Genf
  Festival de la Cite, Lausanne
  Oltner Tanztage, Olten
  Schweizer Choreographen Wettbewerb, Zürich
  
  2001 Bangkok City Ballett, Bangkok

• Choreography: Verdinero Nunzio/Nussberger Sandra
  Dancers: Nussberger Sandra/Verdinero Nunzio
  Music: Tous les matins du monde
  Duration : 20 Minuten
  
  About the work:
  „Ticket“ is concerned with our vulnerability in situations involving personal commitment, in all aspects of life. How do we react when we feel we are being treated unfairly? We often find the right words only much later. We are extremely anxious about appearing naked, encouraging intimacy, becoming involved and exposing ourselves to more hurt. There is a certain tension between, on the one hand, the need to overcome this state of mind and to open up afresh and, on the other, the imperative of self-protection.
  
  The aim of „Ticket“ is to explore such situations, to examine remaining feelings and those last words that were perhaps never spoken.
  
  Vulnerability is symbolised by means of a 1.2 by 2.0 m sized field of white feathers, which is placed in the middle downstage. The field also represents a clear boundary. However, with their airiness and tenderness the feathers show the vulnerability in us. A milky plastic costume, worn by both the dancers, allows the underlying layer to shine through and illustrates the transparency of feelings that only seem to be controllable.
  
  Performances:
  1998 Oltener Tanztage, Olten, Switzerland
  Festival „Petits Fours“, Rote Fabrik, Zurich, Switzerland
  8. Festival der zeitgenössischen Tanzes, Heidelberg, Germany
  

Nunzio Verdinero, who dances the part of the boy and also choreographed the work, impresses in the first instance with a delicate, empathetic language of movement …
Verdinero forces himself, by feeling his way head first along a wall, into the wake of the past and finds himself trapped in an illuminated corner of the room that is bright with fear..
Monika Burri: Tagesanzeiger, September 1998


Nunzio Verdinero, who dances the part of the boy in „Fluchtstücke“, appeared recently in the magazine „Ballett International“ as the most promising young dancer”
A glance at the latest rehearsals will only confirm the whispers of the critics.
Züritipp, August 1998


With his absolutely precise and unbelievably expressive language of movement, the dancer and choreographer Nunzio Verdinero manages not only to double the number of verbal images, but to enter into a dynamic dialogue between retrospection and present time. Thus spoken text and dance go their own ways but always meet in the representation of feelings. Subtly Verdinero embodies the feelings of constriction when in hiding, of agitation when on the run, the superhuman fear of the incomprehensible, such as the death of relatives, but also, shining through again and again the childlike joy of survival, of life itself.
Neue Zürcher Zeitung: September 1998

„In the second choreographic sequence of the evening entitled „Nervous Habits“ the cool Bohemian is called to account. Casually and unrestrictedly Sven Seeger slouches in nightly ambience in his armchair, munches potato crisps and reads magazines. Little angels and little devils dance around him to kitsch Italian disco rhythms, exchange verbal blows over the ego of this still so cool 30-year old (man), who with no hesitation sticks to his 40 cigarettes a day, his bad teeth and his life as an idler. “Nervous Habits” is more theatre than dance, but nonetheless very amusing.
Berliner Morgenpost, March 2002


Guess what this might be. It is short, witty and has pace. There is only one correct answer: It is the work choreographed by Nunzio Verdinero, performed in May in the program of “Dancing in the Pink” at the Tanzhaus Wasserwerk in Zurich. A man (Sven Seeger), a bit floppy in shape, lies lazily in an armchair. From behind he is handed first his missing slipper, then a cola and after that a cigarette. The idea of someone hidden behind an armchair or a sofa is anything but new, but here it works perfectly. Perhaps it comes as a surprise that it is a luscious angel (Verdinero himself), who hands the good things to this softie. In such a pampered person forces start to stir. He wrings himself full of lust on a big bed, but the devil (Jean Marc Lebon) is not long in coming. We have something to laugh about and maybe also to think.

John Geissler

The wing’d 3rd Oltner Tanztage with its motto „Dives“ found its artistic perfection only on Sunday: Taking the narrative aspect into account, Nunzio Verdinero delivered in “senza titolo No.1” and, together with Sandra Nussberger, in “Tickets” a dance taster that aroused a storm of applause from the audience.
Aarauer Zeitung: 17. November 1998


In the first work entitled „Tickets“ man and woman encounter each other and create a magnetic field full of vulnerability, which is accentuated by positioning a white carpet of feathers in the centre of the stage. Feathers, feathery material that moves frailly, lifts off, longs to be touched and yet, being so full of vulnerability, stimulated a soft fall…
The man succeeded more easily, he got lost in the white abundance and enjoyed the game with the feathers. The woman tried to protect herself from her own desires. Nunzio Verdinero choreographed this dance in collaboration with Sandra Nussberger. They made a very vibrant dance team, she tender and light in her movements with a good sense of poetry and he powerful and clear in the definition of his figures. Closeness and the fear of touch, and of losing oneself was clear and comprehensible

In the second part, „senza titolo no.1” Nunzio Verdinero showed us his funny and ironic side. In this solo-dance-piece on the theme of football he presented himself as an over-committed TV-viewer. Verdinero demonstrated how one can experience a game of football without actually being on the football field. Dressed elegantly he danced through the open space, his impressive light jumps, the figures he portrayed in the room, his intricate turns captivating the observer. One enjoyed the exaggerated and distorted, the wondrously hectic, which was really about nothing and yet everything, until the dancer finally dropped back into reality exhausted and dirty. Very enjoyable this danced parody, which seemed all too familiar. Amazing these fast, round movements and turns, the dance play with a fictitious ball, which for short moments actually seemed to be dancing on the tips of his toes before immediately getting lost in space.
Oltner Tagblatt, November 1998


Nunzio Verdinero from Zurich earned much applause for his thrilling illustration of a football commentator.

Marianne Mühlemann, Der Bund October 1997



Apart from art and women, all proper artists and intellectuals are naturally interested in only one thing: football. To what physical and emotional exhaustion this passion can lead, is shown by Nunzio Verdinero’s “senza titolo no.1”. Sound: an Italian football commentator. With an emotionless, cool mien the dancer propels the game to its climax: the decisive last minute strike.
Wibke Hüster, Basler Zeitung October 1997

The flowing dancing takes up only a little space in „Durchzug“, but as a purposefully inserted interlude it brings a poetic atmosphere to the otherwise profane enterprise. Successful too, is the way in which Verdinero includes the multinational character of the protagonists, be it through language, temperament or the narrative. And finally the location of the performance, the Lokremise (roundhouse), plays its role exquisitely with train and station noises and the overall atmosphere of the building.
The dance piece shifts into the space behind the audience, beyond their horizon, and this is consistent: The waiting has reached them too.
Ulrike Henke, St. Galler Tagblatt 26. October 2007


Nunzio Verdinero, a member of the Dance Company of the Theater St. Gallen, has choreographed his dance piece so precisely, formed the snap-shots so carefully and often wittily, that one no longer expects such stories. And the dancers slip into their roles with such intensity, that the nameless figures become human beings, admittedly still anonymous, but individually comprehensible and characterised by gestures and movements, with lively facial features and body language.
Südkurier, 31.October 2007


…which choreographer Verdinero intersperses, as if from nothing, with elaborate insights, on one occasion swaying harmoniously like a somnambulist, on another obscenely abrupt, when a gigolo screws his leg into the private parts of a lady, so that it strips her of her shoes, in which he, the peacock, artfully struts off…
Stadt24.ch, 1. November 2007


The Lockremise (roundhouse) is momentarily metropolitan, but that is thanks to „Durchzug“. The Theater St.Gallen’s dance piece is being staged at this temporary location, on and in between airport seating. There are woollen blankets laid out for the audience, who shiver and watch the figures, meeting here by chance as they await their flights abroad or home. With few resources but great accuracy, the five dancers and their choreographer allow us to glimpse a piece of the world as it passes by. In the end no doubt the dancers are too harmoniously united at the sizzling cooker, but before that they were grouped through strong movement pictures of the fragile, cobbled together in the globalised world.