Bernardi loves to define himself as a composer of the stage; his work is a tireless and meticulous construction from acting to dramaturgy. He proposes a total theatre where everything is a motif of symphonic composition: actor, words, music and songs are constructed with lighting, costumes and scenery. Considered as a reference of an original poetics that, with elegance and intensity, allows the classical word to dialogue with the rhythm of pop music, and the voice to approach the sensitivity of the spoken word. Critics have defined Bernardi as a ‘sculptor of actors’, and he himself declares that ‘I am always looking for ways to design the form of the ephemeral state of emotions’.
He experimented without pause for many years, trying to never abandon his love for acting and the aesthetics of his Italian origins, which dialogue with the plastic and visual references that have always accompanied his journey: oriental theatre, design, fashion and contemporary music. Bernardi creates visual and acoustic symphonies for a theatre that is both emotive and plastic, which is why many artists approach him in search of collaborations and creative synergies.
With clear expressionist and German dance-theatre influences in his beginnings, as his career progressed he approached abstract movement and gestural composition to define, at present, his own idea of theatre, where the word is the sound of feelings and the gesture is the form of emotions.
A curious and restless soul is the driving force behind his multifaceted personality which now, in addition to theatre and dance, is also expressed naturally in the filmic language of poetic documentaries, such as Moreno Bernardi, that reviews his 20-year artistic career in the city of Barcelona. Other areas of expression for him are video-art, creative direction and music, thus for Macbeth (2023) and Paradise (2024) he also focused on musical composition together with the violinist David Flores.