Inspiration is the instant when beauty suddenly manifests and ignites our enthusiasm. To be inspired means to project our breath upwards, inspiratio onis; it means to transcend ourselves and yearn for the divine breath, to seize it and bring it down to earth.
In its project INSPIRED BY THE CLASSIC, MOVED BY THE FUTURE Prosecco wants to communicate that the classic is what draws inspiration from, but it is the future that guides its action.
Thus, Villa Contarini, a palace of the baroque Veneto, in Piazzola sul Brenta, becomes an ideal scenic labyrinth for director Carlo Guttadauro. Amidst settings and precious details and metaphysical lighting, the photography of Anam Cara, followed with dedication by the attentive eye of Thomas Guttadauro, aims to explore the aesthetic and graceful movement of the dance of Virna Toppi, first ballerina of the Teatro alla Scala in Milan. Her harmonious gestures, the movements of her body undertake a dance in the Hall of Mirrors. The classic that inspires is already there in the way she offers herself, sinuous and sensuous, with her curves and folds and that energy that emanates from Virna, like a harmonic variation of gait, like a weave that holds itself together, folded and refolded as it unfolds, giving us beauty in its operative status as grace in movement, as harmonic suspension and levity.
Behind her, in a door framed in stucco, Davide Garzetti, the traceur, brings another story, not classical, but one nourished by the classical: motionless, observes the dance. The traceur traces linear paths, which draw momentum and muscular tension from the body to perform games.
In the field that unfolds between classical dance and parkour, boundaries vanish and an unprecedented and mysterious space opens up for the relationship. The inebriation of the dream becomes the antechamber of inspiration. The combination of dance and parkour is unprecedented and therefore rich in nuance and novelty.
The journey between the dancer and the athlete touches Venice and the foundations of the Giudecca. Here, as if by magic, an aesthetic transformation takes place: the dancer, who at first glows with a diaphanous light, turns into a black swan.
This directorial operation is entrusted to costume designer Salvatore Vignola, who masterfully constructs a sculptural artefact of rare beauty: a black tutu covered in sequins causes light to refract on the dancer’s body, accompanying her movement. Cinzia Trifiletti is entrusted with the hair make-up, with its gritty, Gothic-inspired character.
On an iron bridge in Giudecca, the two meet in a sort of conciliation, a secret agreement. The boundaries vanish, the places they frequent are flashbacks, moments of memory, now there is the present and it is new: they can finally play with the classic and the contemporary, tracing in them the spark of modernity that is actuality, the place where past future are in tension.
The two finally have the luxury of toasting on a terrace overlooking the Canalgrande, and the location on which the toast scenes are filmed is the Sina Centurion Palace.
Prosecco DOC bubbles know the power of lucid inebriation that makes us dream, giving us moments of pure lightness.
Prosecco DOC is a modern momentum that knows how to find its reasons in the past and its experimentation in the future.
After all, without experimentation we would not know what beauty is.
Prosecco DOC, inspired by the classic, moved by the future
