Born in Bari on 09-07-1983, he began his dance studies in his hometown and then completed his professional training at the “Scuola del Balletto di Toscana” directed by Cristina Bozzolini.
Since 2002, he started his professional career and become a part of the “Balletto di Roma” under the artistic direction of Franca Bartolomei, Walter Zappolini and Cristina Bozzolini, performing in “Romeo and Juliet” from Fabrizio Monteverde.
Later he worked for “Gruppo Nuova Danza Treviso”, Notre Dame de Paris (Choreography Martino Müller) and in August 2004 he joins “Compagnia Aterballetto” under the artistic direction of Mauro Bigonzetti.
During the next 4 years with Aterballetto, Giuseppe has the opportunity to perform choreographies from Jirí Kylián, Ohad Naharin, William Forsythe, the same Mauro Bigonzetti and participate to numerous national and international festivals.
We do not notice how much impact we are having on our planet. The same planet that we call “home”.
We are so busy to reach the momentary glory that we forget to find our own real identity.
The Italian is one of the exceptional talents who can join an impeccable dancer career in an equally promising career as a choreographer. Spota himself created stage space with movable[...]
Best was UNNA, a terrific pas de due by Giuseppe Spota. The two dancers were in almost constant physical contact. Gorgeous spirals, intensive shapes and fluid lifts emerged as the[...]
The Italian dancer and choreographer Giuseppe Spota is a double exceptional. In the meantime, he has hit the choreography side - with a sensational result. “Visionary"
An exciting choreographer.
Blank offers plenty of space for interpretation and free associations. The movements are organic; a tissue of bodies which merge into the abstract mass, from which energetic individuals are then[...]
Promising talent! Spota engages his poetics on the bodies of dancers with a richly readable lexicon of swirling fingers of arms, hands, heads, and fists like bricks on top of[...]
Of this young author strike the ability to alternate groups sections with duets. The estro with which the great lyricism of the ensemble passages responds to the delicate poetry of[...]
Narcissus is split into a male and a female part, Eco is secondary, but important in the choreographic of the two very physical and rejected duets. The music is very[...]