The “moralizing comments” on the performance of Daisy Ciottiin art Holly’s Good, last February at the Officers Club of the Armed Forces of Rome in via XX Settembre, which led to the immediate removal of the director, did not prevent the artist from demonstrating his professionalism, passion and dedication to other types of dance as well. the Burlesque. On 23 June, in fact, on the prestigious stage of the Brancaccio Theater in Rome, the well-known dancer performed in a classical dance essay, enjoying well-deserved success among the public.
Hers is a career that started long ago; she is thirty years old, originally from the Castelli Romani, she is already a professional dancer, she has achieved, in a very short time, excellent results distinguishing herself in national and international circles. She has received numerous prizes and awards, including the title “Most Classic 2019” and is also the producer of the Domina Burlesque Show, choreographer and artistic director of the show “DejaVù”; these are important awards that have allowed her to reach an ever wider audience, also thanks to her elegance and personality.
Over the years, burlesque has proven to never go out of fashion, but to be an art form of imaginative choreography of satirical variety, evolving into a light show and increasingly loved by the public, strangely above all women. In fact, a strong feminine spirit is concentrated in burlesque, translated into parody, sensuality, in alluring contexts and with dancers able to seduce lightly with a skilful blend of lace-up bodices and sparkling dresses.
But there is more and perhaps redeeming; a discipline that gives self-esteem and transfers a great sense of freedom, experienced with irony. The fundamental aim is to restore a lost femininity, without obeying the classic canons of beauty or an obligatory reference model; the woman of the burlesque in fact does not necessarily have to show a perfect body, she is unique both for the shapes but above all for the personality. This is the message to all women: believe in yourself and not be afraid to express yourself.
In the classical dance essay, directed by the teacher Paola Papadia and held at the Brancaccio Theater, Daisy Ciotti returns to the origins of her professional career, gradually rediscovering her personal initial stylistic code. During the pandemic period, in fact, she trained constantly, exploring the expressive resources of the body, the interpretation of the traditional principles of harmony of classical dance.
Despite her age, she was admitted to the Molinari Art Center, one of the most authoritative professional training centers for dance and performing arts, which normally, like most academies and schools in the sector, is aimed at very young students; this demonstrates the possibility of getting back into the game regardless of conditioning and prejudices.
It turned out to be a particularly significant choreography, performed with a marked aesthetic orientation and with a compositional research in which the interaction between choreographic architecture and a refined game of contrasts found full expression, in the dynamism of the action, demonstrating a spectacular mastery of the scene. . So, on the notes of the unforgettable master Ennio Morricone, the result was much appreciated; a deep and suggestive dialogue between music and body language, in which the movements performed allowed the exaltation of the famous melodies of the film “The legend of the pianist on the ocean” by Giuseppe Tornatore and they were highly moving, in a plot of sublime harmonies.
Article by Giorgio Vulcano.
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