by nina zerby

Francesca Poglie, black eyes, captivating smile. Beautiful, funny, an inexhaustible source of ideas and creativity.

She dances as I never seen someone else do it before!


If you had to describe yourself, what would you say?

I have great energy, sometimes it’s productive, sometimes it’s destructive. Plus the first fortunately.


When did you start perceiving yourself as a dancer?

When I was about 30 years old.


What do you want to convey through your work?

They are not precise or predefined feelings, it is more a necessity. Often weird characters have come out, with a little streak of madness in their eyes or other times, closing my eyes, I have become a calm and serene being with the warmth of the lights, which I am not 🙂



The funniest anecdote from your professional experience?

Having a coffee with some rabbits during the first and second act at the theater bar 🙂


What is your dream or aspiration?

The Theater: continuing to work in it as a dancer but also in other roles and why not, as a director and maybe open one … hehe he said dreams, right? And of course working with Pedro Almodóvar !!!!!!


Who are the contemporary Italian artists whose work you admire?

Emma Dante, Paolo Ventura, Paolo Sorrentino.


If you were a dancer or a choreographer, would you like to be?

I would like ….. Tamara Rojo for her intelligence, strength and tirelessness.





3 shows of the heart

Swan Lake (classic version and that of Alexander Ekman), Venezuela by the Batsheva Dance Company, Parade Crystal Pite and, if I can, Pasionaria by Marcos Morau.


What do you like about contemporary human beings?


What do you dislike about contemporary human beings?

Selfishness and lack of foresight.


Books on the bedside table now?

The Shadow of the Wind by Carlos Ruiz Zafón and Bruno Munari (I have to reread it often, it puts my thoughts in order :))



Francesca started taking ballet lessons at the age of 13, and at 23 she got her first professional contract with the Spellbound Dance Company directed by Mauro Astolfi. Italy, after three years, four seasons and many tours with the company, is tight and wants to fly through its beloved Europe. After many difficulties, the first contracts arrive, the first in London. Peter and the Wolf by Prokof’ev is staged with the choreography of Didy Weldman then Venice with Richard Siegel and at the Bregenzer Festspiele, directed by Graham Vick and choreographed by Ron Howell, they present Aida de Verdi which for the occasion is placed in a floating stop on Lake Constance and every evening 6000 people await them.

In 2010 he began his artistic association with Germany which continues to the present day. He dances at the Staatstheater Darmstadt directed by Mei Hong Ling and Johann Kresnik, Cologne, with Emanuele Soavi Incompany he dances at the Duisburg Theater, Pfalzbau Theater in Ludwigshafen, Köln Alte Feuerwache and at the Cologne Opera and finally in Munich with Roberta Pisu and creates for her, in 2019, the solo Khorovod and is currently his assistant for his choreographic debut at the Philharmonie Gasteig in Munich. He was lucky enough to work for the 2019 Art Biennale for the Singapore pavilion and for the artist Song Ming Ang. In 2015 he began his first curatorial experience with Lago Film Fest and today also with Platform Lago conceiving the dance project. Graduated in Oriental Languages ​​in Venice.