Languages
I work where dramaturgy, game design, performance, and technology begin to speak the same language. I do not start by asking how to make an audience participate. I start by asking what freedom people should have, what their actions can change, and how the work can remain coherent when the story takes an unexpected path.
This is the field I call Hyperdramaturgy: writing and designing not only what happens, but what can happen. Through SEPHIROT®, that system of possibilities becomes playable through rules, roles, choices, and consequences.
If you are developing a performance, a cultural project, a learning experience, a research path, or an interactive format that cannot be contained in a single linear sequence, we may have something meaningful to build together.
I bring the ideas behind Hyperdramaturgy, playable performance, interactive performance, and game design for theatre into a clear conversation with students, artists, researchers, and professionals. Each lecture can combine theory, examples, and questions from the audience.
We take a story apart, identify its dramatic forces, and rebuild it as a system of possibilities. Participants write branches, define roles and rules, test consequences, and discover what changes when spectators become agents of the narrative.
I work alongside artistic and production teams when a project needs nonlinear structure, meaningful audience agency, interactive storytelling, or a clearer relationship between content, rules, technology, and live experience.
We can create a playable performance, a cultural or educational format, a VR or hybrid prototype, or a longer research and development path. The form follows the question: no interaction is added unless it gives the work a real dramatic function.
Every collaboration begins with a conversation, not with a format already chosen. I need to understand the world of the project before deciding how it should become playable.
We begin with the place, institution, community, and practical conditions that give the project meaning.
We decide who is invited to act, what they can understand, and how much responsibility their choices should carry.
We listen to the story, theme, archive, collection, social question, or learning objective before imposing a mechanism on it.
We map scenes, roles, states, rules, choices, consequences, and possible endings, then test whether every possibility belongs to the same dramatic world.
Only then do we choose the right form: lecture, workshop, consulting process, prototype, live performance, VR experience, or long-term collaboration.
SEPHIROT® has been developed through live productions including Cyrano, Il Soldatino di Stagno, and Marino. Performance is where rules meet bodies, timing, risk, and the presence of an audience.
The work has entered academic and professional conversations through contexts including Connessioni Remote, EASTAP, IFTR, Romaeuropa/ADV, and Torino Film Industry. Teaching and research keep the method open to scrutiny and change.
Through CHRONES., I direct game-design, live-experience, VR, software, and R&D projects. Technology matters when it deepens agency and meaning, not when it merely decorates the experience.
A collaboration is worth exploring when a project has a strong story or question, but a linear path feels too narrow; when participation needs dramatic consequences; or when an artistic idea must become a system that a team can actually produce, test, and refine.
You do not need to arrive with a finished brief. An unresolved problem is often a better starting point.
A story needs more than one possible path.
Audience choices need genuine consequences.
Art, game design, and technology need one coherent structure.
Understand the idea of a dramaturgy built as a system of possibilities.
See how a linear story can become a branching, testable structure.
Discover what changes when rules, roles, and consequences reach the stage.
Connect the framework to performance, research, education, VR, and R&D.
For company projects and product development, visit CHRONES.
It can be a clear proposal or a problem that still has no name. In your first message, tell me about the context, the people involved, the material you want to work with, and the change you hope the audience can make.
