[et_pb_section fb_built=”1″ custom_padding_last_edited=”on|desktop” module_class=”header” _builder_version=”4.27.4″ background_enable_image=”off” background_position=”center_right” custom_margin=”0px||0px|” custom_padding=”0px||0px|” custom_padding_tablet=”” custom_padding_phone=”” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”1″ custom_padding_last_edited=”off|desktop” module_class=” et_pb_row_fullwidth” _builder_version=”4.27.4″ background_image=”https:\/\/www.prospettivadanzateatro.it\/wp-content\/uploads\/2025\/05\/497137976_18278448706251808_2699533723157900994_n.jpg” width=”100%” width_tablet=”100%” width_phone=”” width_last_edited=”on|desktop” max_width=”100%” max_width_tablet=”100%” max_width_phone=”” max_width_last_edited=”on|desktop” custom_margin=”0px||0px|” custom_padding=”0px||0px|” make_fullwidth=”on” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_post_title meta=”off” featured_placement=”background” text_color=”light” _builder_version=”4.27.4″ use_background_color_gradient=”on” background_color_gradient_stops=”rgba(0,0,0,0.5) 0%|rgba(0,0,0,0.5) 100%” background_color_gradient_overlays_image=”on” background_color_gradient_start=”rgba(0,0,0,0.5)” background_color_gradient_end=”rgba(0,0,0,0.5)” text_orientation=”center” custom_padding=”150px|10%|150px|10%” custom_padding_tablet=”100px|10%|100px|10%” custom_padding_phone=”50px|5%|50px|5%” custom_padding_last_edited=”on|phone” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″][\/et_pb_post_title][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.16″ custom_margin=”0px||0px|” custom_padding=”100px||0px|” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_text admin_label=”Testo dell’articolo” _builder_version=”4.27.4″ hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n
The winner of the Prospettiva Danza Teatro 2025 16th Edition Prize is the choreographic project SEX.EXE by Pablo Ezequiel Rizzo. Heartfelt congratulations to all participants and especially to the other four finalists selected by the committee!<\/strong><\/p>\n In the Sala Ridotto of the Giuseppe Verdi Theater in Padua on Sunday, May 11, the winner of the PREMIO INTERNAZIONALE PROSPETTIVA DANZA TEATRO 2025<\/strong><\/em>, promoted by the Culture Department of the City of Padua with the contribution of the Fondazione Cassa di Risparmio di Padova e Rovigo in collaboration with the Circuito Multidisciplinare Regionale Arteven and the artistic direction of Laura Pulin and Eleonora de Logu, was proclaimed. These are the four finalist choreographers who presented their works in the presence of the jury and the audience: Pierandrea Rosato<\/strong> (IT) with the choreographic project Shining bruises – a study on burnout<\/em><\/strong>, Glenda Gheller<\/strong> (IT) with the choreographic project Love Parade<\/strong><\/em>, Alessio Damiani<\/strong> (IT) with the choreographic project Burdens of Being<\/em><\/strong>, Pablo Ezequiel Rizzo<\/strong> (IT) with the choreographic project Sex.exe<\/em><\/strong>.<\/p>\n JURY EVALUATIONS<\/strong><\/p>\n \u2022 Shining bruises – a study on burnout <\/b>of <\/em>Pierandrea Rosato<\/strong>: the committee appreciated the project and the dramaturgical work around the investigative theme of burnout. The dialogue with the second character on stage, a true alter ego, becomes a cue to develop the thematic discourse in choreographic terms on the one hand, and the more purely performative\/theatrical discourse on the other. The visual set, deliberately redundant, confirms the assumptions of the title.<\/p>\n \u2022 Love Parade<\/em><\/strong> of Glenda Gheller<\/strong>: the committee appreciated Glenda Gheller’s transformation of love, an eternal and overused theme, into a powerful male duet, interpreted with sparkling vivacity, which becomes a free manifestation of one’s emotions over sweeping techno music, beginning with the imagery of Berlin mass parades of the 1990s and the poems of American poet and activist Bell Hooks.<\/p>\n \u2022 Burdens of Being<\/em><\/strong> of Alessio Damiani<\/strong>: the committee appreciated the great performative appeal of this male duet, the bearer of a pregnant investigation of research into choreographic language. Delivered by Damiani to two very young performers, the piece was, in the jury’s opinion, successful in revealing the interiority and dynamics of the double: trust, bonding with the other, inseparability that only in the end doubles, aware of its own weight.<\/p>\n \u2022 Sex.exe <\/em><\/strong>of Pablo Ezequiel Rizzo<\/strong>: the committee appreciated how the transformation of the three-dimensionality of the body into the two-dimensionality of the video, in the iconographic reference to bas-reliefs and sculptures of antiquity, introduces a displacement of vision that distorts the perception of identity and hints at an interesting development of the play. The excerpt in fieri presented also demonstrates for the jury singular ability to synthesize movement, dramaturgy, digital technologies and original sound.<\/p>\n Considering these judgments, the victory of the 16th edition of the INTERNATIONAL PROSPECTIVE DANCE THEATER PRIZE – worth 5,000 euros, which guarantees a week of choreographic residency in Padua, a performance during the Festival Prospettiva Danza Teatro 2026 as a premiere for the Veneto region, and a week of choreographic residency at Scenario Pubblio in Catania – a Center of Relevant National Interest for Dance – is awarded to Pablo Ezequiel Rizzo’s Sex.exe. The committee also awards an invitation to the Cannes Festival de danse 2025 for an evening dedicated to the International Prize Prospective Dance Theater to Burdens of Being by Alessio Damiani. The Audience Award is given to Burdens of Being by Alessio Damiani.<\/p>\n The commission consisted of Maria Luisa Buzzi, editor-in-chief of Danza&Danza magazine; Philippe Kratz, freelance choreographer and artistic director of NBDT – Nuovo Balletto di Toscana (Florence); Carlo Mangolini, head of Artistic Development of Teatro Stabile del Veneto – Teatro Nazionale; Antonella Bertoni, dancer and choreographer, co-artistic director of Compagnia Abbondanza\/Bertoni; Eleonora de Logu, co-artistic director of Festival Prospettiva Danza Teatro and performer; Benedetta Bruzzese, programming and coordination of Arteven Circuito Multidisciplinare Regionale special projects; Laura Pulin, artistic director of Festival Prospettiva Danza Teatro; Michele Di Stefano, artistic director of Buffalo – Teatro di Roma; Didier Deschamps, artistic director of Festival de danse di Cannes; Emanuele Masi, artistic director of Festival Equilibrio.<\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.4″ custom_margin=”30px||0px|” custom_padding=”0px||0px|” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ custom_margin=”0px||0px|” custom_padding=”0px||0px|” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_video disabled_on=”on|on|on” _builder_version=”4.16″ disabled=”on” global_colors_info=”{}”][\/et_pb_video][et_pb_gallery gallery_ids=”5837,5839,5841,5843,5847,5849,5851,5853″ show_title_and_caption=”off” show_pagination=”off” disabled_on=”on|on|on” _builder_version=”4.16″ disabled=”on” global_colors_info=”{}”][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.16″ custom_margin=”50px||0px|” custom_padding=”0px||0px|” global_colors_info=”{}”][et_pb_row _builder_version=”4.16″ custom_margin=”0px||0px|” custom_padding=”0px||0px|” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_button button_url=”https:\/\/www.prospettivadanzateatro.it\/news\/” button_text=”Torna alle news” button_alignment=”center” _builder_version=”4.16″ global_colors_info=”{}”][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" The winner of the Prospettiva Danza Teatro 2025 16th Edition Prize is the choreographic project SEX.EXE by Pablo Ezequiel Rizzo.<\/p>\n","protected":false},"author":2,"featured_media":13399,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" [et_pb_section fb_built=\"1\" custom_padding_last_edited=\"on|desktop\" module_class=\"header\" _builder_version=\"4.27.4\" background_enable_image=\"off\" background_position=\"center_right\" custom_margin=\"0px||0px|\" custom_padding=\"0px||0px|\" custom_padding_tablet=\"\" custom_padding_phone=\"\" global_colors_info=\"{}\"][et_pb_row use_custom_gutter=\"on\" gutter_width=\"1\" custom_padding_last_edited=\"off|desktop\" module_class=\" et_pb_row_fullwidth\" _builder_version=\"4.27.4\" background_image=\"https:\/\/www.prospettivadanzateatro.it\/wp-content\/uploads\/2025\/05\/497137976_18278448706251808_2699533723157900994_n.jpg\" width=\"100%\" width_tablet=\"100%\" width_phone=\"\" width_last_edited=\"on|desktop\" max_width=\"100%\" max_width_tablet=\"100%\" max_width_phone=\"\" max_width_last_edited=\"on|desktop\" custom_margin=\"0px||0px|\" custom_padding=\"0px||0px|\" make_fullwidth=\"on\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_post_title meta=\"off\" featured_placement=\"background\" text_color=\"light\" _builder_version=\"4.27.4\" use_background_color_gradient=\"on\" background_color_gradient_stops=\"rgba(0,0,0,0.5) 0%|rgba(0,0,0,0.5) 100%\" background_color_gradient_overlays_image=\"on\" background_color_gradient_start=\"rgba(0,0,0,0.5)\" background_color_gradient_end=\"rgba(0,0,0,0.5)\" text_orientation=\"center\" custom_padding=\"150px|10%|150px|10%\" custom_padding_tablet=\"100px|10%|100px|10%\" custom_padding_phone=\"50px|5%|50px|5%\" custom_padding_last_edited=\"on|phone\" global_colors_info=\"{}\"][\/et_pb_post_title][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=\"4.16\" custom_margin=\"0px||0px|\" custom_padding=\"100px||0px|\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_text admin_label=\"Testo dell'articolo\" _builder_version=\"4.27.4\" global_colors_info=\"{}\"]<\/p> Il vincitore del Premio Prospettiva Danza Teatro 2025 XVI edizione \u00e8 il progetto coreografico SEX.EXE di Pablo Ezequiel Rizzo. I pi\u00f9 sentiti complimenti a tutti i partecipanti e in particolare agli altri quattro finalisti selezionati dalla commissione!<\/strong><\/p> Nella Sala Ridotto del Teatro Giuseppe Verdi di Padova domenica 11 maggio \u00e8 stato proclamato il vincitore del PREMIO INTERNAZIONALE PROSPETTIVA DANZA TEATRO 2025<\/strong>, promosso dall\u2019Assessorato alla Cultura del Comune di Padova con il contributo della Fondazione Cassa di Risparmio di Padova e Rovigo in collaborazione con il Circuito Multidisciplinare Regionale Arteven e la direzione artistica di Laura Pulin ed Eleonora de Logu. Questi i quattro coreografi finalisti che hanno presentato i loro lavori alla presenza della commissione giudicatrice e degli spettatori: Pierandrea Rosato<\/strong> (IT) con il progetto coreografico Shining bruises - a study on burnout<\/strong><\/em>, Glenda Gheller<\/strong> (IT) con il progetto coreografico Love Parade<\/em><\/strong>, Alessio Damiani<\/strong> (IT) con il progetto coreografico Burdens of Being<\/strong><\/em>, Pablo Ezequiel Rizzo<\/strong> (IT) con il progetto coreografico Sex.exe<\/em><\/strong>.<\/p> VALUTAZIONI DELLA GIURIA \u2022 Love Parade<\/em><\/strong> di Glenda Gheller<\/strong>: la commissione ha apprezzato la trasformazione da parte di Glenda Gheller dell\u2019amore, un tema eterno e abusato, in un potente duetto maschile, interpretato con frizzante vivacit\u00e0, che diviene libera manifestazione delle proprie emozioni su una travolgente musica techno, a partire dall\u2019immaginario delle parate di massa berlinesi degli anni \u201990 e dalle poesie della poetessa e attivista americana Bell Hooks.<\/p> \u2022 Burdens of Being<\/em><\/strong> di Alessio Damiani<\/strong>: la commissione ha apprezzato il grande appeal performativo di questo duetto maschile, latore di una pregnante indagine di ricerca sul linguaggio coreografico. Trasmesso da Damiani a due giovanissimi interpreti, il pezzo \u00e8 secondo la giuria riuscito a rivelare l\u2019interiorit\u00e0 e la dinamica del doppio: fiducia, legame con l\u2019altro, inseparabilit\u00e0 che solo alla fine si sdoppia, consapevole del proprio peso.<\/p> \u2022 Sex.exe <\/em><\/strong>di Pablo Ezequiel Rizzo<\/strong>: la commissione ha apprezzato come la trasformazione della tridimensionalit\u00e0 del corpo nella bidimensionalit\u00e0 del video, nel rimando iconografico a bassorilievi e sculture dell\u2019antichit\u00e0, introduca una sfasatura di visione che distorce la percezione dell\u2019identit\u00e0 e faccia intuire un interessante sviluppo della pi\u00e8ce. L\u2019estratto in fieri presentato dimostra inoltre per la giuria singolare capacit\u00e0 di sintesi tra movimento, drammaturgia, tecnologie digitali e sound originale.<\/p> Alla luce di questi giudizi la vittoria della XVI edizione del PREMIO INTERNAZIONALE PROSPETTIVA DANZA TEATRO <\/strong>- del valore di 5.000 euro, che garantisce una settimana di residenza coreografica a Padova, una recita durante il Festival Prospettiva Danza Teatro 2026 in anteprima per il Veneto e una settimana di residenza coreografica presso Scenario Pubblio di Catania - Centro di Rilevante Interesse Nazionale per la Danza - viene assegnata a Sex.exe <\/em><\/strong>di Pablo Ezequiel Rizzo<\/strong>. La commissione assegna inoltre un invito al Festival de danse di Cannes 2025 per una serata dedicata al Premio Internazionale Prospettiva Danza Teatro a Burdens of Being <\/em><\/strong>di Alessio Damiani<\/strong>. Il Premio del Pubblico<\/strong> viene assegnato a Burdens of Being <\/em><\/strong>di Alessio Damiani<\/strong>.<\/p> La commissione <\/strong>era composta da Maria Luisa Buzzi<\/strong>, direttrice responsabile del magazine Danza&Danza; Philippe Kratz<\/strong>, coreografo freelance e direttore artistico di NBDT - Nuovo Balletto di Toscana (Firenze); Carlo Mangolini<\/strong>, responsabile Sviluppo Artistico del Teatro Stabile del Veneto - Teatro Nazionale; Antonella Bertoni<\/strong>, danzatrice e coreografa, co-direttrice artistica della Compagnia Abbondanza\/Bertoni; Eleonora de Logu<\/strong>, co-direttore artistico del Festival Prospettiva Danza Teatro e performer; Benedetta Bruzzese<\/strong>, programmazione e coordinamento progetti speciali Arteven Circuito Multidisciplinare Regionale; Laura Pulin<\/strong>, direttore artistico del Festival Prospettiva Danza Teatro; Michele Di Stefano<\/strong>, direttore artistico di Buffalo - Teatro di Roma; Didier Deschamps<\/strong>, direttore artistico del Festival de danse di Cannes; Emanuele Masi<\/strong>, direttore artistico del Festival Equilibrio.<\/p> \u00a0<\/p> [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\"1\" _builder_version=\"4.27.4\" custom_margin=\"30px||0px|\" custom_padding=\"0px||0px|\" global_colors_info=\"{}\"][et_pb_row _builder_version=\"4.27.4\" custom_margin=\"0px||0px|\" custom_padding=\"0px||0px|\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_video disabled_on=\"on|on|on\" _builder_version=\"4.16\" disabled=\"on\" global_colors_info=\"{}\"][\/et_pb_video][et_pb_gallery gallery_ids=\"5837,5839,5841,5843,5847,5849,5851,5853\" show_title_and_caption=\"off\" show_pagination=\"off\" disabled_on=\"on|on|on\" _builder_version=\"4.16\" disabled=\"on\" global_colors_info=\"{}\"][\/et_pb_gallery][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=\"1\" _builder_version=\"4.16\" custom_margin=\"50px||0px|\" custom_padding=\"0px||0px|\" global_colors_info=\"{}\"][et_pb_row _builder_version=\"4.16\" custom_margin=\"0px||0px|\" custom_padding=\"0px||0px|\" global_colors_info=\"{}\"][et_pb_column type=\"4_4\" _builder_version=\"4.16\" custom_padding=\"|||\" global_colors_info=\"{}\" custom_padding__hover=\"|||\"][et_pb_button button_url=\"https:\/\/www.prospettivadanzateatro.it\/news\/\" button_text=\"Torna alle news\" button_alignment=\"center\" _builder_version=\"4.16\" global_colors_info=\"{}\"][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","_et_gb_content_width":"","footnotes":""},"categories":[24],"tags":[],"class_list":["post-13412","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en"],"_links":{"self":[{"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/posts\/13412","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/comments?post=13412"}],"version-history":[{"count":0,"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/posts\/13412\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/media\/13399"}],"wp:attachment":[{"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/media?parent=13412"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/categories?post=13412"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.prospettivadanzateatro.it\/en\/wp-json\/wp\/v2\/tags?post=13412"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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\u2022 Shining bruises - a study on burnout <\/em><\/strong>di Pierandrea Rosato<\/strong>: la commissione ha apprezzato il progetto e il lavoro drammaturgico intorno al tema di indagine del burnout. Il dialogo con il secondo personaggio in scena, vero alter ego, diventa spunto per sviluppare da un lato il discorso tematico in termini coreografici, dall\u2019altro il discorso pi\u00f9 prettamente performativo\/teatrale. Il set visivo, volutamente ridondante, conferma gli assunti del titolo.<\/p>