Enzo Celli’s international engagements include:  Peridance Contemporary Dance Company (NYC), Sam Houstone State University (Huntsville - Texas), Sarah Lawrence College (NYC), Bashkortostan State Academy (Russia), UFMG University (Belo Horizonte, Brasil). Russian Drama Theatre (Ufa, Russia), Na Strastnom Theatre (Moscow), National Choreographic Centre of Montpellier- Les Orsoline (France), Von Ussar Danceworks (New York), Battery Dance Company (New York), International Dance Festival (Bangkok), Arts On Site (New York), MDP (Arizona).

His works have been set on prestigious theatres including: Alvin Ailey Citigroup Theatre (New York), Salvatore Capezio Theatre (New York), La Cigale (Paris), Erfurt Opera House (Germany), Sao Pedro Theatre (Porto Allegre, Brasile), Guaria Theatre (Curitiba, Brasile), Auditorium Conciliazione (Rome), National Theatre (Belgrad), Teatro Municipal Joaquim Benite (Lisbon), Espace Robert Hossein (Lourdes).



The third day is the best known on the day of the rebirth (or more exactly and literally new birth, English being born again). The "old" they deemed the number 3 a sacred meaning: therefore was often used by magicians in their mysteries, as well as recourse in many speeches and writings by Latin poets and orators. Nothing is more familiar ter joined the positive to give, strength superlative, as ter beatus three times blessed, that is most blessed. THIRD DAY Performance Cloud Series presents the figure of three blessed by analyzing the concept of happiness in the light of the blessed Hebrew translation: the one who is standing straight.

DISGELO - sòlar

Solar is the second show that forms the diptych of Disgelo (Thawing) produced by the VIVO Production.

Solar studies the individual prospect of the interior melting, examining the personal repercussions that emerge from it, up to reaching and discovering the “other me”.  The “other me” thanks to its humanity leads back to the capability of loving and transcendence. On set two  strongly improbable characters, who find their fulfillment of their existence only in being together. A love story of unusual simplicity, from which though, flows the possibility and capacity of loving in a lost way.


DISGELO - the gift

"Disgelo by Enzo Celli is a very powerful". l'Avvenire.

"Take time to love, because this is a privilege that God gives you. Take time to be good-natured because this is the road to happiness. Take timed  to laugh, because a smile is the music of the soul, take time to love . God and the people that you have next to you every day with a lot of tenderness, life is too short to be selfish. We all return to be earth, but there is a big difference on the type of soil you are: desperate soil o soil that is in love”. Don Luigi Verdi.

Setting off from the condition that unavoidably precedes thawing, the glaciation, Enzo Celli transposes into the human condition the iciness of the soul, especially studying all the shades that make an individual cold towards another. Like the thawing occurs with the atmosphere warming up, so for another phenomenon, this can occur  in a person  only when they come into contact with the other.



“(Enzo Celli) this is the real revolution”. La Repubblica

Zonton celebrates life with the deepest and profound meaning celebrating that life which stubbornly proceeds to the disadvantage of human witticism, of mediocracy, and the wretchedness of man. Zonton celebrates his weaknesses that often transform into necessities, celebrating those people who know how to forge from love, abandoning themselves to life, enriched by the past and never left un-consoled  by melancholy. Zonton is the total abandonment to the beauty that will save the world. So the dance becomes a metaphor to life in itself. Beauty just like passion, sacrifice as a gift , pain just like joy are nothing else but a translation of life into the dancing act.

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"Fifteen minutes of applause from an audience warm should be a great satisfaction for the company and the absolute proof of a great success." Dance & Culture
This remake of Giselle is set by a space strongly dream that represents the memory of the story of Albrecht, is set in a place so skinny, hairless.

Là... Qui

Là... Qui is the need to give a voice to L'Aquila in terms of life, life preserved in the stones, in the streets, in places, in the words dedicated to her in time, where there has always been, motionless but alive. What has changed over time is only the ability to listen. The interactive interface is, in fact, used to amplify the ability to listen to both the city and the resonances of the actions taken against him.

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Two performers and an interactive floor: [T]here. A work about designing the sound produced by the performer’s movements, isolating “points of listen” contained in a sound. First aim: listenig exercise. The performance on an interactive floor represents a break in current trends, a little revolution because dancers, as well as human being, are used to know and recognize themselves only from a visual point of view , not from an acustic point of view, the sound of their mouvements. Every action has its sound, its consequence not always immediate but also delayed.

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"Forma Italiana" by Enzo Celli is the new performance of CELLI CONTEMPORARY BALLET for the Level Up of Dance Gallery.The performance is composed of three parts: Parce, Exaudi, Miserere."Forma Italiana" is the state of mind of man in continuous relationship with the Love and the Divine. "Forma Italiana" is an intimate journey, a journey never easy, which places the human being in front of deep existential questions. 




Buona Strada is an ode to friendship built by Enzo Celli for commission of SHSU in Huntsville, Texas.
It is a work inspired by an optimism toward relationships with others.
In an era in which human relations are no longer in fashion, Celli signature work that soars towards the human being, that in the choreography of Celli becomes, in its fullness and completeness, a means to transcendence.




Shutdown investigates the relationship between three women through the issue of the US economic crisis. The action takes place in a room to look for a job interview. The three women, different but with the same problem of finding a job, meet and clash in a duel that will determine who will win the job at the expense of the other two. Although divided by ambition, the three women will gather together those who are the ghosts of modern society.





The intent is to take as a starting point the Brazilian musical heritage and contaminate it with the contemporary European.
In this sense the music as dance break down the distance between two cultures so far apart. The intent is to try (if proof were needed) as the distances are purified from art.
In this sense has become indispensable in the musical collaboration with two Italian artists who have made the Brazilian music at the heart of their music and not only are the sweet voice of Virginia Fabbri and deep guitar Gianluca Persichetti ".



“The right mix between dance-maker and dance could be found in Après-midi d'un Faun, choreographed by Enzo Celli. Après-midi d'un Faun played with the lushness of Debussy's iconic score and the dancers' subtle animalistic qualities, seamlessly traveling from floor to standing. Dancers moved with the lightness of air, adding to the dreaminess of the dance. Taking a less is more approach Celli let the dancers' rare qualities take center stage, allowing us to fill in the familiar narrative”.  Nancy Wozny

Prélude à l'après-midi d'un faune, known in English as Prelude to the Afternoon of a Faun, is a symphonic poem for orchestra by Claude Debussy.




The Rite of Spring (French: Le Sacre du printemps, Russian: «Весна священная», Vesna svyashchennaya) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky, with stage designs and costumes by Nicholas Roerich. When first performed, at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and a near-riot in the audience. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece, and is widely considered to be one of the most influential musical works of the 20th century.


“I’m HERE” is a work created by choreographer Enzo Celli and written for the Peridance Contemporary Dance Company, directed by Igal Perry. The project, elaborated in agreement with the Peridance Contemporary Dance Company of Igal Perry, of which choreographer Enzo Celli has been a resident since July 2012, aims at intersecting three worlds, the American world, the Italian world, the Jewish world, as they are just united for their common love for life and for freedom, which during the years of the Second World War had been heavily punished but which are today estimated to be the absolute values to be protected.

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“Alda became crazy because nobody loved her. Probably, only the death had the brave to did it”.

Love is the Flour of life, Love is the Flour of everything. It is just for this that the imaginary inhabitants of this imaginary world,  as it is for all the fairytales we all know, they amplify their motions, the individuals  of this story are  very delicate and fragile. The dancers abandon themselves to love that carries them away by  that type of simplicity which changes everything,  renews everything,  improves everything like an anomaly,  like a distraction, like a blessing. Alda is a new performance by Enzo Celli ispired by Alda Merini's life.




These research led to the creation of three performances lasting 20 minutes each.  Res Novae: Taking the study on Expressionism as a starting point and focusing on the philosopher Scheler’s theory, the performance originated from the research on the concept and act of abstraction. According to Scheler, each act can totally involve people without draining away their whole being. Res Optimae :It is a divertissement based on the remaking of some of the most famous classical ballet variations aiming to investigate the development of contemporary dynamics. Res Humanae: More than the others, this performance embodies the very essence of the company. Working on it, we gained the most relevant artistic and human results. Our main goal has been focusing on man as principal subject of the artistic act and of the choreography itself.



Fragile is a show that is freely inspired to Nijinsky’s diary. Strongly fantastic, it is situated in an imaginary scenery that represents the mind of the great dancer at the peak of his insanity.

The artists on the set are nothing else than the projection of Nijinsky’s mind. With various moments of cheerfulness, the show merges into poetry that often naturally becomes all one with insanity.



Corpo Morto (Dead Body) is an ode to Love that can overcome everything and can save everything.

Like a body that falls lifeless to the ground, abandoned to itself, to the mercy of the whirlwind that brings you to the loss of any control, so that the main characters abandon themselves to love that overpowers them, with the simplicity that transforms everything, renews everything, improves everything, like something unusual, like  distraction, like a blessing…


Irritation is one of Enzo Celli’s performances that’s had most replicas abroad. It’s composed by two modules, one that lasts 30 minutes, with 5 dancers and the other that last 10 minutes with 2 dancers.



It seems like the lyrical wind is blowing and overpowers the public slyly and with self-irony. Enzo Celli is a creative dramatic artist, circus performer and dancer, and contemporaneously an athlete and poet.

Rossini and Verdi, and everything that is part of our lyrical heritage is unique to the world, they are an inspiration to captivate energetically in pure  entertainment full of emotions and lyricism, where there is a blending from the extreme, tradition and innovation, vigor, technique, aggressiveness and simple and delicate gestural movements. Ironic and intelligent, Celli fills you with emotions and transports into choreography reinterpretations with regards to the music. Taking from the past so as to reinvent, destabilize and recreate with inspiration, merging everything and everyone into a vital, conspiratorial and seductiveness.

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... and also: D.R.E.P. | Edge | Brivido | Sc'impis | Astamanèra | Il Moro | Sircus | UlèssUlà | Homme | Ostro | Nuj | Hic et nunc | 150 | Vita da strega (Musical) | Non Abbiate Paura (Musical)