Raffaella Giordano‚ born in Turin in 1961 begins studying dance in 1978 with C. Perotti and A. Sagna at the Bella Hutter School of Turin. In 1980 she joins Carolyn Carlson’s Company Teatro e Danza La Fenice of Venice‚ and participates as interpreter in the pieces Undici Onde‚ Underwood and Chalkwork. In 1981 she dances with Pina Bausch’s Company‚ Wuppertal Tanztheater‚ as interpreter in the pieces Kontakthof‚ Blaubart and Le Sacre du Printemps.
In 1984 she works in Paris with the company L’Esquisse‚ directed by Joëlle Bouvier and Régis Obadia‚ participating in the creation of the piece Vertée for Festival di Carpentras. The same year‚ she takes part together with Michele Abbondanza‚ Francesca Bertolli‚ Roberto Castello‚ Roberto Cocconi and Giorgio Rossi in founding Sosta Palmizi Company‚ in which she works‚ as dancer and choreographer‚ for the pieces Il Cortile (1985)‚ Tufo (1986)‚ Perduti una notte (1989)‚ participating in all repeat performances (more than 350 in 18 countries). In 1987 she signs her first individual choreographic work‚ Ssst… for seven dancers‚ co−produced by Bois de la Bâtie of Geneva‚ in 1989 Inuit for the Folkwang Hochschule Essen and in 1995‚ still following Pina Bausch’s invitation for the same company‚ Il Volto d’Aria. In 1988 she creates the chorographical movements for the opera Rosamunde‚ directed by L. Codignola at La Fenice of Venice and in 1991‚ for the piece La Medea di Porta Medina‚ directed by Armando Pugliese. In 1990 she takes part as a dancer in the piece Il Muro‚ directed by Pippo Del Bono and co−produced by Oriente−Occidente Rovereto Festival and Asti Festival.
Still in 1990 the group of dancers who founded Company Sosta Palmizi is dissolved‚ but Raffaella Giordano and Giorgio Rossi still keep in life Sosta Palmizi to produce their performances; in 1995‚ Sosta Palmizi is reconstituted as Cultural Association‚ directed by G. Rossi and R. Giordano.
In 1991 together with Antonio Carallo‚ Tobia Ercolino and Bruno de’ Franceschi‚ R. Giordano creates the work Vedere Voci‚ which was presented at Parma Teatro 2 Festival. On March 1992‚ she presents in Reggio Emilia the piece for six dancers I Forestieri‚ co−produced by Centro della Danza of Reggio Emilia‚ Ass. I Teatri and Teatro Comunale di Cagli (PS); the same year‚ she signs the choreography and interprets the solo L’Azzurro Necessario‚ presented on July‚ at Polverigi Festival. In 1993‚ she is invited by the Centre National de Danse Contemporaine d’Anger L’Equisse to create the choreography Du Doute et de la Certitude‚ for second years students. In 1994‚ together with Giorgio Rossi‚ she choreographs the piece Danze Rosa Blu‚ based on an idea by Giorgio Rossi and co−produced by Festival Torino Danza and Festival Roma Europa.
In Summer 1995‚ together with Giorgio Rossi‚ and after having reunited Sosta Palmizi to Cultural Association‚ she takes part at the Dance International Marathon presented for the XXXVIII Festival dei due Mondi di Spoleto‚ dancing fragments from the choreographic work Il Cortile; on August‚ together with the same group and with the same choreography‚ Il Cortile‚ she takes part in Bernardo Bertolucci’s movie Stealing Beauty; still in 1995 she creates a new solo‚ Fiordalisi‚ produced in collaboration with the Festival Segni Barocchi of Foligno.
On January 1996 she is invited as guest choreographer at the Centre National de Danse Contemporaine L’Esquisse d’Angers to create her new piece …et anima mea‚ which premiere on 26th March at Beaurepaire Theatre of Angers. On March 1997 she creates a short solo Maze‚ a homage to Isadora Duncan‚ on occasion of the meeting The living heritage of Isadora Duncan organized by the University of Bologna ⁄ Music and Performing Arts Department. Between 1997 and 1998 she collaborates with contemporary music and jazz musicians‚ like L. Brusci‚ L. Mingiardi‚ R. Bonati and P. Damiani.
In 1998 she creates the choreographies for the new quartet La Notte Trasfigurata [The Transfigured Night] and for the solo Il Canto della Colomba [The Chant of the Dove]‚ on the music of A. Schönberg (“Die verklaerte Nacht”‚ op. n° 4 and “Das Lied der Waldtaube ⁄ Gurrelieder”)‚ in collaboration with Teatro Kismet Opera of Bari. On July 1999 she presents at Festival Sipario Ducale of Cagli the work for four interpreters Quore. Per un lavoro in divenire [The Matter‚ For a work in becoming] supported by the C.N.D.C. l’Esquisse of Angers and Progetto Regionale Toscanadanza; the piece become in 2000 the Special UBU Award.
In 2001 she creates for the Pecci Museo in Prato the short solo ⁄performance Per una Stanza [For a Room]‚ presented on May at the international festival Contemporanea 01. On March 2002 she presents in preview at Teatro Solvay in Castiglioncello the creation for eight dancers Senza Titolo [Untitled]‚ and on June 21th in absolute première at Teatro Ariosto in Reggio Emilia. In 2003 she collaborates with the writer Alessandro Baricco on writing the movements for the City Reading Project – Nine Nights‚ Hundred Pages for the festival RomaEuropa‚ Teatro Valle in Rome. In 2005‚ she goes back to the international stage with the solo Tu non mi perderai mai‚ on music by L. Brusci‚ freely inspired by the Song of Songs; the piece is presented on August‚ in preview at the International Dance Encounters Nairobi and on September 13th‚ in premiere at the Festival Internazionale di Performing Arts UOVO in Milan. On March 2007‚ she presents in première at the Théâtre Garonne‚ Toulouse‚ the new performance for seven interpreters Cuocere il mondo [Cooking the World]; the work has its origins in Leonardo’s Last Supper and is co−produced by Théâtre Garonne‚ Toulouse − Théâtre Les Bernardines‚ Marseille − Teatro comunale di Modena Fondazione − Festival delle Colline Torinesi.
In January 2009, Raffaella comes with the solo Ama Fì, dedicated to the world of adolescence, specifically created for the Teatro Signorelli of Cortona, with the participation of the choreographer and dancer Michele Abbondanza. In October, she dedicates A te to the great choreographer disappeared, a brief solo presented in Siena at the Teatro Rinnovati during the evening homage to Pina Bausch.
In 2010 collaborates with Mario Martone in setting up the choreographic movements for the scenes of the nightmare of Mazzini, in the film Noi credevamo. In 2011 she performs the role of the Angel in the show Caino produced by Teatro Valdoca, directed by Cesare Ronconi, texts Mariangela Gualtieri, national premiere on January 13 at the Fonderie Limone del Teatro Stabile di Torino.
In 2012 Raffaella Giordano begins a choreographic path with the dancer and choreographer Maria Muñoz co-director along with Pep Ramis of the Spanish company Mal Pelo based in Girona. L’Incontro made its opening in the month of December 2013 at the Théâtre des Bernardines in Marseille, capital of Culture 2013.In the fall of 2013 she takes part in the movie “Il giovane favoloso” directed by Mario Martone in the role of Adelaide Antici, Giacomo Leopardi’s mother, a production Palomar and Rai Cinema with the contribution of Fondazione Cinema Multimedia-Marche Film Commission.
The collaboration with the director Mario Martone, continues with the realization of the choreographic movements for the Macbeth Opera that has debuted the 4th of May 2015 at the Théâtre des Champs-Elisées. In 2015, persists the collaboration with the director Mario Martone for the realization of the choreographic movements of the Opera The Bassarids, music by Hans Werner Henze, serious opera in one act Libretto by W.H. Auden and Chester Kallman from Le Baccanti di Euripide with debut in November 2015 at the Teatro dell’Opera di Roma winner of the XXXV Abbiati Prize. In 2016 she cures the choreographies of Calderón by Pier Paolo Pasolini directed by Federico Tiezzi, Production Theatre of Rome and Fondazione Teatro della Toscana winner of the UBU Prize 2016 as best direction.
Raffaella Giordano concludes 2016 curating the choreographic movements for the Sancta Susanna by Paul Hindemith at the Opera Bastille in Paris, directed by Mario Martone and the direction of Carlo Rizzi.In 2017 she is the protagonist in the film L’Intrusa by director Leonardo Di Costanzo (presented at the Cannes Film Festival) and from August 2017 she’s involved as choreographer in the film Capri-Batterie directed by Martone, out in 2018. In the autumn 2017 she presents, within Autunno Danza in Cagliari, the debut of her latest solo work dedicated to Nature Celeste, appunti per natura.

In 1990‚ Raffaella Giordano receives the PRIZE OF THE CRITICS “DANZA&DANZA 1990” as best interpreter of new Italian contemporary dance.
On June 1999‚ for the second time‚ she is rewarded with the PRIZE OF THE CRITICS “DANZA&DANZA 1998 ⁄ 99” as best interpreter and choreographer of new Italian contemporary dance for contemporary dance with the piece The Transfigured Night ⁄ The Chant of the Dove on the music of A. Schönberg.
On July 1999 she receives the PRIZE GARDADANZA for Italian contemporary dance for the piece The Transfigured Night ⁄ The Chant of the Dove on the music of A. Schönberg as best Italian interpreter.
On November 2000 she is awarded the UBU AWARD «for casting with her The matter. For a work in becoming a critical glance at reality and for her courage and intensity of her choreographic choices in the field of theatre−dance beyond dance.»

Raffaella Giordano held for twenty years a regular training in Italy, and has taught in major schools abroad such as Folkswang Hoch Schule in Essen, Germany and the CNDC d’Angers in France. A number of its interventions in training projects also in theater. From 2009 to 2012 is creator and artistic director of “Scritture per la danza contemporanea” two-years course for awareness−raising
and development of body arts. Project supported by Teatro Stabile di Torino and Arboreto, Teatro Dimora di Mondaino, in collaboration with Sosta Palmizi and React! Transdisciplinary creative residencies, shared by Santarcangelo dei Teatri and Teatro Petrella of Longiano. She is the promoter and tutor for a stable teaching network on Tuscan territory “Azione”.



1987 Ssst…‚ for seven dancers – 1989 Inuit‚ Folkwang Tanzstudio‚ Essen Germany – 1992 I Forestieri‚ for five dancers; L’Azzurro Necessario‚ solo – 1993 Du Doute et de la Certitude‚ C.N.D.C.‚ Angers France‚ for twelve dancers – 1995 Fiordalisi‚ solo; Il Volto di Aria‚ Folkwang Tanzstudio‚ Essen Germany‚ for nine dancers – 1996 … et anima mea‚ for six dancers – 1997 Maze‚ solo – 1998 A. Schönberg ⁄ La Notte Trasfigurata [The Transfigured Night]‚ for four dancers; Il Canto della Colomba [The Chant of the Dove]‚ solo – 1999 Quore. Per un lavoro in divenire [The Matter. For a work in becoming]‚ for four dancers – 2001 Per una Stanza [For a Room]‚ solo – 2002 Senza Titolo [Untitled]‚ for eight dancers – 2005 Tu non mi perderai mai‚ solo − 2007 Cuocere il mondo [Cooking the World]‚ for seven interpreters – 2009 Ama Fì, solo – 2009/2010 A te , solo, homage to Pina Bausch – 2012 Raffaella Giordano begins a choreographic path with the choreographer and dancer Maria Munoz – 2017 Celeste, appunti per natura.


1978⁄80 studies with C. Perotti‚ Teatro Nuovo; A. Sagna‚ Bella Hutter School‚ Turin – 1980⁄84 C. Carlson‚ Theater and Dance Company La Fenice‚ Venice‚ interpreter Undici Onde‚ Underwood‚ Chalkwork – 1981 P. Bausch‚ Wuppertal Tanztheater‚ interpreter Kontakthof‚ Blaubart‚ Le Sacre du Printemps – 1984 J. Bouvier and R. Obadia‚ l’Esquisse‚ interpreter Vertée – 1985⁄89 Sosta Palmizi‚ collective choreography‚ Il Cortile‚ Tufo‚ Perduti una notte – 1990 P. Del Bono‚ P. Robledo‚ interpreter Il Muro – 1994 R. Giordano‚ G. Rossi‚ collective choreography Danze Rosa Blu – 1995 B. Bertolucci‚ interpreter Io ballo da sola – 2003 A. Baricco‚ movement writing City reading project – 2011 Teatro Valdoca C. Ronconi / M. Gualtieri, interpreter in Caino.


1990 “Danza&Danza” critics award‚ as best Italian new dance performer – 1999 “Danza&Danza” and “Gardadanza Festival” critics award as best choreographer⁄performer in the performance La Notte Trasfigurata ⁄ Il Canto della Colomba – 2000 Special “UBU” award for the performance Quore. Per un lavoro in divenire‚ «for casting a critical overlook on reality. More generally for the courage and intensity of the choices operated in dance−theatre beyond dance.»


2009/2010 Artistic Direction of Scritture per la danza contemporanea, course for awareness−raising and development of body arts. Supported by Teatro Stabile di Torino and l’Arboreto, Teatro Dimora di Mondaino, in collaboration with Associazione Sosta Palmizi and React! Transdisciplinary creative residencies, shared by Santarcangelo dei Teatri and Teatro Petrella of Longiano.

2011/2012 Two year-course Secondo, supported by Arboreto, Teatro Dimora di Mondaino and Associazione Sosta Palmizi.

She is the promoter and tutor for a stable teaching network on Tuscan territory “Azione”.