Degree in Physics at University of Trento in 2005. High Formation Course for actors "Progetto Interregionale Teatro - Percorsi innovativi di alta formazione" Cantieri Teatrali Koreja - Stabile d'innovazione del Salento (Lecce), year 2007/08 (principal teachers: Iben Nagel Rasmussen, Antonio Viganò, Gabriele Vacis, Eugenio Allegri, Raffaella Giordano).
Member from 1999 of UQBARTEATRO Cultural Association in Verona; permanent workshop leaded by Daria Anfelli from 2000 to 2005.
Actor in the plays:
• “MESSE ALI'– In the middle of the sea” play performed into churches (directed by Daria Anfelli; Uqbarteatro, Verona 2002)
• “THE COWARD WAR – non-stop recital for actresses and theatral chorus” (directed by Daria Anfelli; Uqbarteatro, 2003)
• “ZOVAR: STORY OF STORIES. At the beginnig of time” children play with puppets and actors, from “The faithful gardener” by C. P. Estès (directed by Daria Anfelli; Uqbarteatro, 2003)
• “MYSTERY” open-air Christmas play (directed by Lech Raczak; Uqbarteatro, 2004)
• “THE GATE OF THE LOCUSTS” from A. Kurosawa and R. Akutagawa (directed by: Lech Raczak; produced by: Uqbarteatro – International Theatre Festival MALTA, Poznań 2004)
• ”SEALSKIN, SOULSKIN” Narration from “Women who run with the wolves” by C. P. Estès (Uqbarteatro, 2003)
• ”THE FEATERED OGRE” open-air children play, from the tale by I. Calvino in “Italian Folk Tales” (directed by Daria Anfelli; Uqbarteatro, 2005)
• “TILT!” from “Le ping-pong” by A. Adamov (directed by: Lech Raczack; produced by: Teatro Aenigma, Urbino 2005)
• “GIULIETA E ROMEO" (directed by Massimo Totola; Mamadanzateatro, Verona 2006) • “IN TUMULTO” (directed by: Rossana Farinati; mise-en espace: Vincent Longuemare; Teatro Kismet OperA, Bari 2008)
• “LOVE LESSONS – Studio towards a Barbablue” High Formation Course final play (directed by Antonio Vigano'; 2008)
• “THE SLEEPING BEAUTY” (directed by Michelangelo Campanale; Compagnia La luna nel letto, 2009)
• “THE EMPEROR'S NEW CLOTHES” (directed by Daria Anfelli; Uqbarteatro, 2009)
Workshops leaded by: Gabriele Vacis, Laura Curino, César Brie, Ludmila Ryba, Isadora Angelini and Luca Serrani.
THREE QUOTATIONS
We need a place of serenity, mental hygiene, where mutual respect of individualities becomes a body that dialogue with itself: a place of reflection, of mirroring. A place that is out of the brawl of daily life, not in order to isolate ourself in a sterile way, but to help with other forces and society tensions to make clear, to untie those lumps of violence and abuse that are cause and effect of that brawl. Today more than ever we need a Theatre. [...]
The Theatre has another force: the power of his language, that is direct poetry, without filters or falsifications. Starting from theatrical insights as much as possible not mediated, making the various forms in scenic space-time react each other, favouring any possibility of extensive connections of thought, a body’s born in which relate in order to produce new ideas, new visions of the world that are experienced, tested during the event, which doesn’t act, precisely, but wich is. The residue of this experience remains inside the spectators and players, becoming living thought, acted and not sustained.
Leo de Berardinis, “Towards a National Theatre”, april 1999
We need a place of serenity, mental hygiene, where mutual respect of individualities becomes a body that dialogue with itself: a place of reflection, of mirroring. A place that is out of the brawl of daily life, not in order to isolate ourself in a sterile way, but to help with other forces and society tensions to make clear, to untie those lumps of violence and abuse that are cause and effect of that brawl. Today more than ever we need a Theatre. [...]
The Theatre has another force: the power of his language, that is direct poetry, without filters or falsifications. Starting from theatrical insights as much as possible not mediated, making the various forms in scenic space-time react each other, favouring any possibility of extensive connections of thought, a body’s born in which relate in order to produce new ideas, new visions of the world that are experienced, tested during the event, which doesn’t act, precisely, but wich is. The residue of this experience remains inside the spectators and players, becoming living thought, acted and not sustained.
Leo de Berardinis, “Towards a National Theatre”, april 1999
For the art of theatre - this theatre - the starting point is not knowledge of libraries and the beautiful hidden in museums, but the shapeless flow of events , of life experiences. The task of theatre is to give to the shapeless that daily swallows us a shape(and then the sweat on the face of the actor is both an expression means and an element of an aesthetic) and a meaning (and then a drop of sweat can have the weight of a witness). […] Among people, close, after arm. Face to face with you, viewer, surrounded by the audience, the actor […] can not only play, it should be.
Lech Raczak, "… gasping, sweating, to the floor…", 1993
Lech Raczak, "… gasping, sweating, to the floor…", 1993
UQBAR
There is a text by Jorge Luis Borges entitled "Tlön, Uqbar, Orbis Tertius", which tells about an unlikely country, described by an unfindable encyclopedia. Researching on this country it emerges, thanks to others vague clues based on texts that copy one another, that in fact what is at stake is an entire planet, "with its architecture and its wars, with the terror of its myths and noise of its languages, its emperors and its seas, with its minerals and its fish, with its algebra and its fire, with its metaphysical and theological disputes."
However, this creature, perfect in every aspect, whether Uqbar or Tlön, is a creation by "a secret society of astronomers, engineers, metaphysicals, poets, chemicals, moralists, painters, surveyors under the direction… of an obscure genius man. "That is, someone has invented the country, and since then the encyclopedias have spoken as to what true. We are faced with a typical borghesiana invention: the invention of an invention. But Borges' readers know that Borges has never invented anything: his stories more paradoxical stem from a rereading of history.
from the Preface by U. Eco in the book "History of the Rose-Cross"
http://www.uqbarteatro.blogspot.com
There is a text by Jorge Luis Borges entitled "Tlön, Uqbar, Orbis Tertius", which tells about an unlikely country, described by an unfindable encyclopedia. Researching on this country it emerges, thanks to others vague clues based on texts that copy one another, that in fact what is at stake is an entire planet, "with its architecture and its wars, with the terror of its myths and noise of its languages, its emperors and its seas, with its minerals and its fish, with its algebra and its fire, with its metaphysical and theological disputes."
However, this creature, perfect in every aspect, whether Uqbar or Tlön, is a creation by "a secret society of astronomers, engineers, metaphysicals, poets, chemicals, moralists, painters, surveyors under the direction… of an obscure genius man. "That is, someone has invented the country, and since then the encyclopedias have spoken as to what true. We are faced with a typical borghesiana invention: the invention of an invention. But Borges' readers know that Borges has never invented anything: his stories more paradoxical stem from a rereading of history.
from the Preface by U. Eco in the book "History of the Rose-Cross"
http://www.uqbarteatro.blogspot.com
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