media & curtain – Carmen Di Marzo, there is a new teacher at the school of Italian comedy

media & curtain – Carmen Di Marzo, there is a new teacher at the school of Italian comedy
media & curtain – Carmen Di Marzo, there is a new teacher at the school of Italian comedy

DEEPENING – The teaching “college” of the first national theater school project for Italian comedy is expanding, a project born in 2019 in Rome and which we have also baptized in the media (The first theater school of Italian comedy. it was laughter that asked for it!). The new teacher has an artistic path that certainly does not need our introduction. We had the pleasure of receiving directly from Carmen Di Marzo some advances on what will be presented in the usual Open Days in September.

Actress, singer, dancer, a lot of theater, cinema and television and also a teacher …

Yes, actually I have been teaching for some time and I am very pleased to confirm that from October I will be among the teachers of the theater school of Italian comedy directed by Antonio Grosso and Luigi Pisani. Initially it was supposed to be a separate cycle of lessons, albeit over the long term, then they offered me to join the faculty directly and I accepted with great pleasure. I thank Francesco Nannarelli and Giorgia Verri.

Scrolling through your experiences, you practically experimented with everything or almost everything, how important is it for you to express artistic versatility?

For me a lot and I have always tried to range. I worked a lot with the theater, with the classics, but I also did a lot of comedy and musicals. It is not easy, but I have always sought versatility, which I consider truly fundamental for an artist. I think an actor should try to explore as much as possible. Every role, theatrical, television or film teaches you something. They are different languages ​​that have a single common denominator which is acting and each creative process leads you to improve your profession as an actor.

Taking some examples, among his latest works …

In a few months it will be possible to see me in the Rai1 fiction “I Bastardi di Pizzofalcone 3”, directed by Monica Vullo. I have ranged a lot with theater and cinema, addressing social issues that are very dear to me. For example, the short film “Conciliare stanca” by Francesco Zarzana that sees me as the protagonist tells the theme of femicide and is getting great acclaim in many festivals. Also important is my theatrical monologue “14-wo (man)”, text and direction by Paolo Vanacore, which transported the true story of Joanna Dennehy to Italy, considered one of the most dangerous serial killers in England. And then we have the Renaissance docufilm, “The enchantment and the delight”, where I play Vittoria Farnese, directed by Francesco Zarzana.

On versatility, nothing to say. Remaining on strong and unfortunately constant themes such as violence: they are not exactly easy to stage

No, in fact. I had to face a long study both on the figure of the victim of “Conciliare tired”, and on that of the killer with “14”, which in the film adaptation is directed by Michele De Angelis. It is an incredible story in its tragic nature, where we have this woman who kills like a man and we let ourselves be inspired by her true story to tell the violence of a man but through the woman. There is a very interesting reversal from a creative point of view, a very difficult construction of the character, but that was a great challenge. Now also “14” will start a festival journey, but I will definitely be back on stage with the monologue with the next theater season, as soon as the situation has normalized.

I would like to return to your next appointment as a teacher. You have no idea what human material, let me say, you will be confronted with. Will she adapt to the students or will the students stick to the educational program?

In general, when a teacher starts an acting course he must absolutely keep in mind who he will be in front of. My course is open both to aspiring professionals, as on the other hand it is in the nature of the school of comedy, since it is a professional training project with all teachers belonging to the world of entertainment. The work we will do on the boys will therefore necessarily have to propose a more careful, meticulous and professional study of the actor’s work. But it can also be open to people who want to get closer to this world more simply to improve their relationships with others. I have been teaching for years also in other structures and what I have noticed is that there is a great variety in the approach to this world. You do not necessarily have to have work ambitions, you can also do it only for personal pleasure, to overcome character difficulties. There are truly a thousand different reasons.

Is it a path that can adapt to everyone?

My course is entitled “From the stage to the set” and was created to train new professionals in the sector, primarily. We will work on theatrical and cinematographic language. We will face two great reference methods, Stanislavskij and Strasberg, but by going beyond the methods, it is my intention to make sure that the participants have a complete idea of ​​what goes on in the realization of an art project, both on stage and in front of the camera. . They are different languages ​​but both must be known. It always starts from the stage that teaches you discipline, rigor, gives you a sense of the group and the community. These are aspects that are only learned in the theater. The cinema, on the other hand, is a machine where many people work, but it is completely different.

You mentioned two great fathers, is contemporary acting essential to classical methods?

It is certainly necessary to start from the classics, probably they have also given us and told us everything, but there is no single method that is valid for everyone. I believe that every actor must experiment and find his own ways and be able to understand what corresponds to him and what are the tools that work best on him, because we are all different. It is therefore essential to study and know. There are ways to bring out the emotions. The teacher must push the student to self-analyze, because the man and the artist are things that communicate and must help him to acquire awareness. It is important to provide children with the tools that allow them to work on “creation”, because the actor is a creator. An athlete. And therefore the figure of a coach who helps the students to discover the potential and channel it is not only very important, but wonderful. I also learn a lot from them.

I would like to conclude – and I apologize in advance – with a stupid question: can we all become athletes / actors?

(Carmen smiles and in her kindness tells us that the question is not stupid, ed) It is a profession that is refined and built over the years, but not everyone can do it. You need great strength, character, a good psychophysical balance. This profession is built over time and certain things are not improvised, as one does not become a doctor or a lawyer only with passion, but it takes years and years of study and sacrifices. But then there are people who have passion and who can find a nice life partner in the theater, who can help them overcome their limits, without necessarily having the ambition of the profession. This too is beauty. Obviously the sooner you start the better, but those who really want to take up the profession of the actor should know that the path is very long and demanding. It is very beautiful, but also very difficult.

After having clarified that like any job to do it well you have to know how to do it well and have “spit the blood” on it, we just have to thank Carmen Di Marzo for the pleasant chat: we will continue to sit comfortably in the audience. It is certainly easier. For information about the school, contact: Teatro dei Contrari (Monteverde Vecchio), Via dei Quattro Venti n. 38, 00152 – Rome. Phone: 3489774959. [in copertina Carmen Di Marzo, foto di Giacomo Spaconi]

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