In 2001 the meeting of Elisa Barucchieri, Victoria Sogn and Francesco Catacchio leads to the creation of ResExtensa. In 2002 they receive full support by the dell’Accademia Isola Danza, La Biennale di Venezia for their work, and win the “Pegaso d’Oro” for artistic talent, international prize given by the Federazione Italiana Danza.
Currently they work with the support and assistance of Carolyn Carlson, Susanne Linke, Urs Dietrich, Danio Manfredini.
First under the name of Elisa Barucchieri and then as ResExtensa, they have presented their work, among others, at Biennale dei Giovani Artisti (Rome), Lavori in Pelle (Alfonsine, Ravenna), Festival di Genzano (Genzano, Rome), Dansens Dag Unesco (Oslo, Norway), Kulturmonstringen (Kongsberg, Norway), Festival Altrimenti (Roncalceci, Ravenna), Festival dei Popoli del Mediterraneo (Bisceglie, Bari).
With Dos Pezes, ResExtensa was nominated second best performance for all 2003 in the city of Kongsberg, Norway.
Their subsequent work, Soliloquy!, was selected as inaugural performance for Dansens Hus Oslo, national center for contemporary dance in Norway.
ResExtensa has received funding from Fond For Utøvende Kunstnere, Fund for Performing Arts, Norway, and by the Region Puglia in Italy.

Our dance is physical and emotional.
It is our constant search for a clear style, through a physical, theatrical dance that does not negate the use of voice and words, but that focuses mostly on the narrative potential of body and gesture.
Through constant collaborations with musicians, actors, artists and directors, we are investigating the expressive potential of images and emotions, the primary seed, the nucleus of the creative drive—perhaps into archetypal emotions.
We want to create a dance that is necessary, important to do and to give, a dance that may touch the spectator deeply and in subconscious ways, emotive first, then intellectual. We are working to find a dance that goes back to the human need for movement and physical expression, back to the need to participate in an event of movement, to the visceral experience, not easily codifiable in words.

Halfway between dance of pure movement, form and composition, and the more precisely narrative form of theatre dance, our work communicates, becomes guide for a journey trough visions that are more oneiric and immaginific, than describable by words.
We are trying, maybe, to reach more into the collective subconscious than the daily experience; to create a work that is less tied to a specific time and fashion, and is more a human experience.

Acknowledging the strength of our unity, we try to use at best, and to challenge, our physical and espressive capacities. Creating a dance described many times as femminine in its strength and in its gentleness, and using our duality as dancers so similar and yet different; we work to donate to the audience our strong, fragile intimacy.