Nicola Galli is the creator of a theatre of enigmas
Andrea Pocosgnich
Nicola Galli has visionary and a bizarre mind, and each of his artistic projects is a journey into another world, or rather would say, planet
Maria Luisa Buzzi
He has a vast imagination that has been guided in theatrical devices, giving value to strong aesthetic developments.
His creativity, in fact, tends towards the freedom to explore ever new territories, offering us performances crafted with embroidery skills.
Carmelo Zapparrata
Technical mastery combined with curious and clear sensibility
Laura Bevione
Galli proves to be a sensitive and intelligent dancer, able to evoke and interpret,with a pleasant touch of self-irony
works on body research and he is choreographer,
dancer, light and costume designer.
His research stated in artistic pieces and devices that ranges from choreography to performance,
from body installations to graphic-visual design.
Starting from natural sciences, geometry, astronomy, architecture and a passion for photography,
his gaze is fascinated by human anatomy, light and sound, key elements that nourish the close
relationship between the subjects that inhabit the scene in a perspective of interdependence.
His work embraces a transversal scenic vision, in which the body becomes the irradiate core of an artistic research
and a sensibility focused on the exploration of movement as a part of different knowledges.
Galli starts as agonist gymnast and then approaches the languages of contemporary dance with Teatro
Nucleo and later dancing for the company CollettivO CineticO from 2010 to 2014.
Since 2010 he has been developing a choreographic research focused on the deep relationship between
human and nature and on the analysis of the notions of "stratification" and "landscape".
Contextually to artistic research, Nicola Galli creates and manages educational workshops dedicated to
children, adults and young dancers, designed to explore the movement, discover new visions and
perceptions of the body and new reflections of his own physical and communicative border.
Since 2014, he has been an artist supported by the production organisation TIR Danza.
His works have been presented in: Egypt, France, Germany, Japan, Italy, Holland, Peru, Norway, Spain and Swiss and via live streaming in South Korea.
He has also collaborated with important international Institutions: Alianza Francesa (Lima) Italian Cultural Institute (Lima, Oslo, Paris), MUSE Science
Museum (Trento), Scuola Normale Superiore University (Pisa), Fondazione Perugia Musica Classica (Perugia), Institute of the Arts (Seoul),
IUAV University (Venice).
AWARDS
• 2018: "Equilibrio Award" - Fondazione Musica per Roma with the pièce Deserto digitale
• 2018: "Danza & Danza Award" as best new choreogprapher with the pièce De rerum natura
• 2019: italian award "Sfera d'Oro per la danza"
• 2021: "Radicondoli per il teatro in the name of Valter Ferrara" award for innovation and use
of new technologies in the theater with the performance Genoma scenico | digital device
PUBLICATIONS
Galli is present in the volumes "La rete che danza" by Fabio Acca and Alessandro Pontremoli (published by Anticorpi XL),
"Almanacco di Corpogiochi: un atto politico" (published by Cantieri Danza), "Teatro Akropolis - vol. 14" by Clemente Tafuri e Dadiv Beronio (published by AkropolisLibri).
Nicola Galli is considered one of the most radical author of the nouvelle vague of italian contemporary dance. He has interpreted an
hybrid conception of coreographic creation, that explanes into performances and formats as different as coherent on his scenic imaginary.
Galli belongs to what we can name "tiers paysage" of contemporary dance, using the french philosopher Gilles Clément's words: a territory
rich in unknown relations between languages and elements that contribute to creation of the scene.In his work, Vitruvius thought and
spheric perception coexist in a kind of perfect fusion. On one side the body aspires to be unit of measure and simbolic center of the world;
on the other, the scene expresses itself as a de-idealized city, that can embrace, in its perspective on dance, phenomena and representations
that couldn't aim at revealing a "hierarchy of looking".