Alfredo Zinola is an Italian performer, choreographer and dancer based in Germany.
The son of an actor and an actress, he had his first experiences in the theatre while taking part in his parents’ rehearsals and later acted in the productions of their company, Teatro dell’Angolo, now Fondazione T.r.g., in Torino.
His dance studies began in 2004 thanks to the italian choreographer Raffaella Giordano (Ass. Sosta Palmizi) who offered him the possibility to study with his company for one year. After that, he continued his experiences in contemporary dance in Italy and in Spain, and in 2006 he joined the Modern Dance Study Program at the Folkwang University in Germany.
Later at the University of Turin, Faculty of Literature and Philosophy, he graduated in Intercultural Communication, proposing an analysis of a contemporary dance performance of the French choreographer Jerome Bel through an anthropological point of view, with a thesis entitled: Pichet Klunchun And Myself, A Possible Intercultural Encounter On Stage.
While working on his projects he also collaborated as a performer with various choreographers including: Angie Hiesl, J.Jaspers, G. Rossi, S. Sandroni, C. Hennermann, Kainkollektiv, C.ie 2+, and Stephan Herwig.
In his own work, his way of creating is based on collaborations between himself and other artists. These collaborations lead to important encounters where both artists are engaged with a strong responsibility for the development of the performances.
His first duet, Suschi, explores the possibility of an intercultural encounter between a Korean and an Italian dancer on stage. His second work, About Josema, focuses on the theme of the gay sexuality of a young Mexican dancer in an irreverent and ironic way, by setting a sex-interview on stage.
In 2013 with Felipe González, they attempted to redefine what could be considered contemporary dance performance for children by creating PRIMO, an underwater performance of contemporary dance, set in a large pool on stage.
Continuing to investigate work that is able to propose abstract forms as a medium of empathic communication, he created Nero in 2015 with the american performer Maxwell McCarthy. In this work, obscurity is considered as a blank canvas for imagination, and the body is used in relation to reflective objects in order to produce light forms that lead the spectators a step further into the darkness.
The interest between actuality and children’s theatre brought Zinola to the Fondazione Teatro ragazzi e giovani of Torino in 2014, in the frame of the european project Alcotra, to invent a work about family and privacy. He created, in collaboration with the Peruvian artist Ximena Ameri ATO, a site-specific performance that opens a family’s apartment to the public and questions their intimate space and the necessity/curiosity of voyeurism.
Still with Ameri he created Bomba Mix in 2015, a performance that proposes a possible revolution of children’s objects. While accepting some of the cliches related to the world of children, the two performers brong a sort of hysterical state to the performance and the public, creating a brake and a possibility of a silent revolution.
The works of Zinola and his colleagues have been invited to many festivals in Europe, South America, Russia and Australia.