The eight dancers of Corpi senza volto leaning on each other in front of a dark curtain, warm light

01 Photobook, 2026

Corpi senza volto

The female body between control and reclamation

A photobook with eight dancers, in five chapters. Bodies that don’t ask to be recognised, but to be seen.

Format
Photobook
Year
2026

Credits

Concept, research, visual narrative, art direction & project direction
Tiziana Lisci
Book design & layout
Tiziana Lisci
Photography & post-production
Luca Pegorer
Photography assistant
Giusi Cristofano
Dancers
Nadia Alberti, Silvia Andriani, Giovanna Auriemma, Claudia Cassano, Veronica Di Cristofaro, Irene Maurelli, Aurora Paoloni, Elena Pisani
Location
Sala Prove Off, Teatro Golden, Roma

Who tells the story of the female body, with what gaze, and with what intention?

Introduction

Corpi senza volto is not a project about absence. It is a project about presence: the kind of presence that is too often ignored, diminished, unacknowledged.

The women you will meet here have faces. They have identities. But in this project I am not asking you to recognise them: I am asking you to see them. To watch how they move, where they carry their weight, where they find their strength. To look for who they are not in their features, but in the way they occupy space, turn movement into language and the body into a voice.

Before every shot, each of them was read a series of questions. They were not to answer in words. They were to answer with their bodies. What you see is the result of those answers.

Five chapters, five moments. A path with no solution, but with a direction: towards a presence that does not ask permission to exist.

To anyone who, even for a single day,
felt wrong for being themselves.

Stylistic choices

01

Dance

A language before it is an aesthetic choice. The dancer’s body moves through control and discipline, finding in movement an authentic form of expression.

02

Photography

Crystallising the moment, stopping movement to train the gaze. The still image invites you to pause and recognise the body as a subject.

03

Black & white / colour

Two expressive possibilities, not two narrative moments. Black and white emphasises form, gesture and tension; colour gives back vitality and physical presence.

Creative process

Visual reference: a dancer in a white dress

Research

Dance and photography references gathered before the shoot.

Briefing with the dancers in the rehearsal room

Method

Before every shot, each dancer was read a series of questions. They had to answer with their bodies.

The empty rehearsal room at Teatro Golden

Location

Sala Prove Off, Teatro Golden, Rome.

On set: the photographer shoots while art direction follows

Art direction

On set with photographer Luca Pegorer.

Chapter 01/05

Control

Who are you, when no one is watching?
And when everyone is?

There is always a gaze.
Even when you can’t see it.
Even when you think you’re alone.

There are rules no one says out loud.
But you learn them anyway.
How to stand.
How to move.
How to take up less space.

Your body has been trained.
Corrected.
Disciplined.
It has learned to hold itself back.
Not to exceed.
Not to disturb.

A dancer in profile on pointe, isolated in darkness
A dancer with arms outstretched, body in tension
A figure in arabesque against black
A bare back with arms raised: muscles drawn by the light
A seated dancer leaning into shadow
Legs on pointe, body folded forward
A dancer crouched on pointe
An extended leg emerging from darkness

Chapter 02/05

Instability

How many times have you felt watched?
How many times judged?
Not for what you do.
But for who you are.

How many times have you felt belittled?
And how many times were you made to feel less?
Without a raised voice.
Without a word.
Just making sure you understood.

How many times did you adapt?
You changed a gesture.
Lowered your eyes.
Held back a movement.
Without being able to say a thing.

A torso arched backwards, arms open in the dark
A dancer off balance, one leg raised
A figure suspended mid-jump
Detail of an outstretched arm
Black and white: a torso with head tilted back
Black and white: detail of shoulder and neck
A dancer with skirt in motion, hair flung back
An upturned body, legs reaching up
Black and white: arm and leg among folds of fabric

Chapter 03/05

Reaction

Who does your body belong to?
To you? Or to whoever is watching?

There is a right shape.
A right way, and a line not to be crossed.
And if you cross it…
you become too much.
Too visible.
Too present.
Too much.

What if you stopped?
Correcting yourself.
Holding back.
Making yourself smaller.

How does a body move when it doesn’t ask for permission?
How does a body move when it no longer wants to please?

An upturned body, legs opening in a V
A gathered figure in motion
A standing dancer, open stance, direct gaze
Black and white: two dancers lunging
A dancer leaping, her skirt like a shadow
Arms flung wide, face turned to the light
Black and white: a tangle of legs and bodies

Chapter 04/05

Exposure

How does a body move when it refuses to be looked at?
Yet is exposed all the same.

Where do you feel the weight?
In your shoulders?
In your hands?
In your breath?
And where do you feel your strength?

Let your body answer.
Don’t look for the right shape
or to be seen the right way.

Being visible isn’t always a choice.
But it can become a stance.

An inverted figure suspended in darkness
Black and white: a grand jeté, the body in flight
Black and white: two dancers leap in front of the rehearsal room windows
Backlit: hair and a back stretched on the floor
A dancer in a mid-air split
Black and white: a leap in the rehearsal room

Chapter 05/05

Breath

Let what remains come to the surface.
What was left unsaid. What found no room.
Not everything has to be composed. Not everything has to be corrected.

There is a moment when the body stops holding back.
And the breath changes.
It widens. It takes up space.

The body no longer asks for permission. It doesn’t shrink. It doesn’t correct itself.
It isn’t a rupture. It’s something subtler. A presence.

The body remains. Whole. Visible.
No longer adaptation. No longer reaction.
A choice.

If no one had ever told you how to be… how would you move?

A dancer with one arm raised, her abdomen in the light
Black and white portrait, looking into the camera
Black and white portrait, hair loose
Black and white: the eight dancers in a line
The group with arms raised upwards, warm light
Portrait with long dark hair
Black and white portrait, steady gaze
A dancer standing full length, alone in the dark
Black and white: the group in motion
Bodies intertwined on the floor, faces at rest, warm light