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ANTONIO DE ROSA /Artistic Director /Choreographer /Co-Founder:

Born in Castellammare di Stabia, Italy.

MATTIA RUSSO / Artistic Director /Choreographer /Co-Founder:

Born in Atripalda (Avellino) Italy.

Both graduated in classical and contemporary dance, at the Ballet School of the Teatro alla Scala, Milan.

Antonio de Rosa, began his career as a dancer at the Maggio Fiorentino, the Arena di Verona and the Teatro alla Scala, Compañía Nacional de Danza de España.

Mattia Russo, began his career at the Choreographic Center of the Generalitat Valenciana, in Spain, to then work for Introdans, then for the Compañía Nacional de Danza in Madrid, where they grow and develop with the best choreographers on the international scene.

In January 2015, they create the KOR'SIA collective in Madrid together with Giuseppe Dagostino and Agnes Lopez Rio.

Since 2017, de Rosa and Russo have concentrated their activity in KOR'SIA as Artistic Directors, Choreographers and Dancers.

As choreographer Antonio and Mattia, had been invited to create for other companies as:

Compañía Nacional de Danza,(Spain) Víctor Ullate Ballet (Spain),Teatro Massimo(Italy), Konzert Theater Bern, (Switzerland),Luzern Theatre, (Switzerland), Of Curious Nature Bremen (Germany) Opéra National du Rhin (France) Verve (UK)  Staatstheater am Gärtnerplatz (Germany),Opéra Grand Avignon (France),Hessisches Staatstheater Wiesbaden (Germany)

Together they receive numerous choreographic awards including:


FEDORA Prizes Biennale Award (VAN CLEEF & ARPELS Dance Prize 2023)

Positano International Dance Festival Leonide Massine'

1 Prize International Choreography Competition NEW YORK-BURGOS,

2nd Prize Certamen Choreographic de Madrid. Madrid, Spain

2 Prize Copenhagen International Choreography Competition. Copenhagen, Denmark 2015

1 Prize 21st Concours Chorégraphique Contemporain Jeunes Compagnies, France.

1 Prize Résidence Création 2015 Conseil Régional de Bourgogne & Synodales. Sens, France.

1 Prize Young Choreographers' Competition Bordeaux National Opera's Ballet, the Malandain Ballet Biarritz with the CCN Ballet de l'Opéra National du Rhin .

1 Prize TANZPLATTFORM BERN | International dance festival and competition for choreographers.

Selects Aerowaves Twenty of the most promising emerging choreographers in Europe 2019/2020.

Mattia and Antonio consider it essential to develop a space focused directly on learning, giving master classes and workshops on creative processes, in conservatories, and universities, such as the Accademia Nazionale di Roma, (IT) Conservatorio Superior de Danza María de Ávila in Madrid, (ES) University Complutense de Madrid, Northern School of Contemporary Dance (UK), Tsoying Senior High School (Kaohsiung, Taiwan.) among others.

The origins of Igra go back to Jeux / Nijinsky, a work created by the Russo / Rosa in the past. It was a short piece, and whose axis was the creative process of that Nijinsky work. The subject was broad and from that first process, the desire to continue and expand the ideas remained. Igra supposes this expansion, in which there are hardly any vestiges of its predecessor.

As usual in Kor’sia, visual power plays a decisive role in Igra, which without being a danced docudrama about that time and those works, is full of references, which appear in a subtle and intermittent way. Electronic music is close to the rhythms of Russian dances, the inclusion of Chopin, a Polish composer, seems to want to remember that although Nijinsky was born in Kiev and his sister Nijinska in Minsk, his family was Polish and the choreographer himself did not consider himself Russian. Metaphors are also present. Jeux was playing a tennis game but the game he wants to talk about is seduction. Igra, in short, does not reproduce or recreate, but the spirits of the famous brothers dwell (perhaps happily) in it.


Winner of the FEDORA


Dance Prize  (2023)



Artistic direction:

MattiaS Russo,

Antonio De Rosa

For the Kor'sia collective, the arts and specifically the arts of movement, as their competence, are the only representations that manage to transmit the human world, everything created by our societies: tradition, society, culture ..., in a way that no other cognitive skill achieves. Surviving in time beyond the societies that produced them and managing to transcend what we call ideas, providing individuals with access to their most intimate and spiritual ways.

Therefore, the objective of this collective is based on the creation of artistic devices whose epicenter is located in the body and that proposes a reflection on the possible gestation of individual and collective spaces, which can provide new access to ways of being and being. in the world through the living arts.
Currently, Antonio de Rosa and Mattia Russo, are the directors and choreographers of the project, where they collaborate together with the Performing Arts researcher and co-founder, Giuseppe Dagostino and the Professor of Performing Arts Agnès López-Río as artistic advisor.l


Idea and direction :

Mattia Russo and Antonio de Rosa
Choreography :

Mattia Russo and Antonio de Rosa in collaboration with the interpreters

Assistant to the Dramaturgy

and Artistic Advisory :

Agnès López-Río,

Gaia Clotilde Chernetich
Scenery Kor’sia

Marc Di Francesco
Sound space:

Da Rocha
Styling Luca Guarini
and Adrian Bernal
Costume design, Costume realization and manufacturing:

Mans Concept,Menswear/

Jaime Álvarez.
Piece for 7 dancers > duration 60 min


creation 2019

Idea and direction:

Mattia Russo and Antonio de Rosa

Mattia Russo and Antonio de Rosa

in collaboration with the performers

Gaia Clotilde Chernetich and Kor’sia
Dramaturgy assistant:

Giuseppe Dagostino
Artistic advice:

Agnès López-Río
Set designer:

Amber Vandenhoeck and Kor’sia

Patricia Rezai

Marina Jiménez Blasco

Adolphe Adam and PERMANENT DESTRUCTION / Naomi Velissariou & Joost Maaskant 

Musical composition:

Susana Hernández Pulido

Marc Salicrú
Costume idea and design:

Adrian Bernal

Piece 10dancers > Duration : 22min

creation 2020.

KOR’SIA has already taken the path of revisiting classics through other pieces of his own, such as Somiglianza that revisited the Afternoon of the Faun or Jeux, which is the title that Nijinski conferred on one of his ballets in 1913 and it was a collaboration with the defunct company Víctor Ullate in Madrid (Spain).

With this particular vision that takes up pieces from the past and tries to connect them and place them in the present, we are trying to build a possible imaginary that perfectly concentrates on an idea of ​​the philosopher Paul Valery that we like to constantly repeat ourselves:

"There are no finished poems, there are only abandoned poems."

Our fascination for these pieces, where we can also connect to this Giselle, starts from the understanding of humanity as a device that shares a collective imagination, a series of shared discourses or narratives, which in our opinion make us up as a community and as humanity. In how those pieces that we call academic, invariably preserved in time, we can find answers or ways of life, lessons, allegories, solutions to our current problems.

If we take Giselle to the streets, to those of the XXI century, she is that woman who launches herself with courage, commitment and truthfulness to love despite everything. Unfortunately we don't find many Giselle on our streets in our day to day life. And is it possible to access pure love today?

The new technological devices have multiplied the speed of relationships, as well as that of possible and multiple frustrations; configuring the failure of love as a current theme.

Individuals react to this new technological sphere, to this potential disorder, with other tools that lean on and seek "answers" in meditation, yoga, also in dance ... asking our body for new resources to help us sustain what installs us in this new spectral / virtual speed; although like Giselle. And we believe or want to believe.. that this is still invariable, we are always guided by a single desire: to love and be loved.

Agnès López-Río

Word Premiere on October 19th, 2023

Inspired by Petrarch's Ascent of Mont Ventoux, the KOR'SIA collective seeks answers from the humanist past for the conflicts being proposed to us by a 21st-century paradigm shift: the construction of an individual capable of rebuilding themselves and the planet.



Everything is overcome by obstinate work.

Francesco Petrarca (1336)

With Mount Ventoux, the Kor'sia Collective revisits the work that Francesco Petrarca wrote in 1336, Ascent to Mont Ventoux, apparently just a letter recounting the ascent to a mountain on any other April afternoon.

Through an ascent disguised in simplicity, Petrarca offers an alternative to the faith of the world, an ascending journey for humanity to elude and leave behind the dark years of the Middle Age; bringing about a paradigmatic shift to the world to come, humanism.

As the Kor'sia Collective perceives it, this story, Mont Ventoux, still offers us the possibility of learning from the past, which can be transformed into a better experience of the present, and therefore in the construction of a better future for all and all.

Today, we, the people who live together on the planet, seven centuries later and in greater acceleration, typical of the times we live in, also perceive the urgent need for change. We are facing the destabilization of the structures that up to now supported us as a community and as humanity, and witnessing the transformation of a too uncertain future.

Petrarca, already warned:

"We have to wake up from lethargy,

get out of the molds!". Under this mantra, the Kor'sia Collective

wants to collaborate in giving voice again to these words that today resonate with importance:

Ascend the mountain.

Recover our values.

Do a mass philanthropic exercise.

Put humanity and the nature that precedes back in the center.

What a better way to do so than through dancing bodies.


Mattia Russo and Antonio De Rosa


Agnes López-Rio

Set Designer:

Amber Vandenhoeck

Costume Designer:

Luca Guarini

Music original:

Alejandro Da Rocha

Assistant to the dramaturgy

and Artistic advisory:

Giuseppe Dagostino

Piece for 13 dancers > Duration: 35min


program b



program a



program C



 represents kors'ia in France.



tour calendar 23/24

Dates will be announced shortly.









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