The goal is to win the Italian Supercup.

Emanuele Cristofoli, aka Laccio, official choreographer of Eurovision 2022 and artistic director of Laura Pausini while co-hosting the event, tells the details of his performances.

Laccio and Laura Pausini on stage at Sanremo 2022

Emanuele Cristofoliin art Lace, is one of the most sought after choreographers and artistic directors of the moment. During his career he curated performances Raffaella Carra e Laura Pausini. He was the artistic director of the latest editions X – Factor. He choreographed Moonlight for Saturday night life on NBC, for a miniseries New Pope and films There are 1 e There are 2 from Paolo Sorrentino. Today he is the official choreographer 66th Eurovision Song Contest and as Artistic Director of the Laura Pausini Show in co-hosting the event. interviewed Laccio for the details of the performances he curated at Eurovision 2022.

Emanuele Cristofoli aka Laccio

Emanuele Cristofoli aka Laccio

Choreographer, dancer, artistic director, you have had many roles, how would you define yourself?

I define myself as a creator. I like to think and model things depending on the situation: sometimes you can use scenography, sometimes choreography. Our world is so big that it can be difficult to have one definition. I like to look around, creativity is the basis of many things.

Eurovision 2022 in Turin, venues: from Pala Alpitour to Parco del Valentino

Eurovision 2022 Stage

Eurovision 2022 stage

What does it mean to be creative today?

Definitely will be the solution. It happens that people do not have the opportunity to concretely present their thoughts: they often have an idea, a desire. This desire is concretized with the help of people like me who are able to visualize an idea and turn it into an image. Maybe an artist on stage wants to transfer energy, but does not always know the codes to transfer energy to the stage, I help to find these codes through the world of graphics, choreography or costumes. These are all languages ​​that communicate together. The goal is to create balance in the scene, not confusion.

Laccio and his Modulo Factory team

Laccio and his Modulo Factory team

What are the stages of artistic creation of a performance?

We start with the main idea that should be in storytelling. Even a simple performance should send a message. From there, we work on moodboards, collect ideas, and start drawing, planning the scene. When it comes to live performances, everyone thinks about an internship. The process, as a rule, is always the same: we try to imagine what the final result will be, that is, the image that you are looking for. Everything leads to an image.

You ran X Factor during the pandemic, which was more of a constraint or an opportunity? Can you tell us about the experience?

I worked hard before The X Factor, but with this program, my credibility and my role as artistic director have been strengthened. I must admit that the program gave me a lot. With the 2020 release, we definitely had to think about being absent, which prompted us to take advantage of areas of the stage that were normally reserved for the public only. At first, the situation worried us, because the warmth of the audience is fundamental, but then its absence gave us other opportunities. We worked with what we call “reverse”, which is everything that is usually behind the main cameras. The back ground has become a real stage, giving us the opportunity to create performances that we did not expect. The limitation has become an opportunity.

Laccio and Sheik, Artistic Directors of the latest edition of The X Factor

Laccio and Sheik, Artistic Directors of the latest edition of The X Factor

You talked about “cinematic” work with artists, what do you mean? Can you do it even with big names like Laura Pausini?

I am not a creative who modifies artists. I try to get closer to their ideas, to their own world. Each of us is connected with colors, tastes, imagination. It is important for an artistic director to recognize the world of artists they belong to and understand how to get the most out of this world without transforming it, because otherwise it turns into creative violence, which is not always good. With Shake, we’ve always worked on the identity of the artists, that’s the starting point.

Fashion show design by Alessandro Vigilante, curated by Laccio.

Fashion show design by Alessandro Vigilante, curated by Laccio.

You have curated the shows of some of the most important women in the Italian entertainment industry, from Raffaella Carra to Laura Pausini, can you tell us about this experience?

Raffaella Carra was a very important person for me, she made me understand that I can do this job. When I met her, I was very young and asked myself: “Why should Raffaella Carra listen to my suggestions?”. From the moment she started doing this, I realized that this could be a job for me. It gave me confidence that I didn’t expect. I thought: “If Rafael Carra will listen to me, then others will be able to do it.” From here I realized that I can have a confrontation with artists and that this is right. Laura Pausini is a discovery every day, she always wants to be better, she always wants to impress the audience, stimulate it, offer new aspects. We still have a lot of work to do.

Tribute to Raffaella Carra at the Sanremo Festival 2022

Tribute to Raffaella Carra at the Sanremo Festival 2022

You also curated Maneskin in America on NBC’s Saturday Night Live.

I met them at the X Factor final, it was an opportunity to create an important show with them. Then they called me from America and asked me to support their Saturday Night Live show, which I didn’t expect. We worked remotely, so I sent tips, ideas, it was not easy to follow them from afar. However, when I saw them live and saw what we said to each other, it was something special. my figure may be fundamental, but with them it is very little needed, because they are very good.

Maneskin's choreography for NBC's Saturday Night Live by Laccio

Maneskin’s choreography for NBC’s Saturday Night Live by Laccio

What is the difference between a TV show like X Factor and an event like Eurovision?

The difference is that you have to think of a smaller image as if you need to fill up less space on your TV screen. At Eurovision we work with the whole scene and with what is around it, but at X Factor we could isolate a single image. The proportions are completely different. An important difference is also the numerical value. The permanent dance group on the X Factor is 10-12 dancers, in the final of the program there were 50 dancers on stage and 500 on the floor. Also in Eurovision we will have important numbers with a fixed line-up of 40 dancers, and then we will have moments when the number will increase. This is because the warmth of the dancer helps a lot in the performance. The dancer conveys the emotion they want to convey to the stage with an ease that is often not found in a graphic or other element. The human aspect, and therefore the eyes, the dance, the body, more directly appeal to the audience.

Internship Eurovision 2022

Internship Eurovision 2022

Costumes, scenery, scenery, music, what role do they play in your creations?

They are fundamental. The balance between these elements becomes the idea and then the image. There must be communication between different departments and different professional figures. When everyone gets along, magic is born on stage.

What inspires you?

Of course, contemporary art, high fashion and niche realities provide interesting ideas. Young visual artists from generation Z also give me a lot of ideas. Young people have more courage and you can really draw inspiration from them.

Do you have style? What pollution do you think distinguishes you today?

I am a lover of architecture, pure geometric volumes, I always start from there. These volumes define my work. Perhaps the secret is to always remain elegant even in situations full of details, even if for me elegance is minimalism. If even when I’m not minimalist I can find the balance that others recognize as elegant, I’m glad.

What were the key moments in your career?

Of course, working with Paolo Sorrentino and Raffaella Carra has changed me. Then in every project you learn something. Sometimes we laugh at ourselves and say, “Something harder than this just can’t be.” Then comes the next project, which is even more difficult, and so we don’t talk about it anymore. So every time you study.

Choreography Laccio The new Pop by Paolo Sorrentino

Choreography Laccio The new Pop by Paolo Sorrentino

What were your childhood aspirations?

I expected everything except this job. I wanted to be a veterinarian, then an architect. I started dancing when I grew up. This was my passion. I never thought it would be a job.

What do you expect from this Eurovision 2022?

To demonstrate, despite the many difficulties experienced, that we Italians know how to do things and do them well. I don’t work for myself, but for a team.

Lasso while dancing

Lasso while dancing

What are your dreams for the future?

I never set myself long-term goals. Life surprised me, and I like to be surprised. I just hope that I can find a balance between my professional and personal life.

Any advice for younger ones?

You must immediately pack your suitcase and leave. We must look for opportunities, look for connections. It’s important to have the courage to act because it’s not easy right now and it can be hard to imagine that you have the opportunity. Therefore, we often stop at some point, stay alone and think too long. Therefore, it is necessary to have the courage to act, to dare, to write to a person who is a guide for us. Connecting the connection is not so difficult. We must insist.

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