noir from a perfect mechanism proceeds as a scientific investigation: Still Life in a ditch is at the Piccolo Teatro Studio in Milan 20 to 25 November 2007, Fausto Paravidino text, directed by Serena Sinigaglia, with Fausto Russo Alesi. Lights and sets are by Nicolas Bovey, the assistant director Eleonora Moro, production ATIR Still Life in a ditch begins with a guy who speaks in bursts of shock. There is, but you can not see, a girl, beautiful, dead, naked in a ditch. Someone has called it a beautiful yellow breathtaking but perhaps especially the last example of the excellent qualities of a young playwright Genoa, Fausto Paravidino, an extraordinary observer of reality, our society and of youth. Perhaps it is also a curious detective scam, complete with commentary and investigation difficult. There is also a hint of irony but also a great depth of feeling. Paravidino says his story using the technique of monologue, monologues rather than six and the great skill of Fausto Russo Alesi is in being able to interpret all, favored by the overwhelming pace of the direction of Serena Sinigaglia, friends and colleagues ever since and still unforgettable dell'irruente 'Romeo and Juliet' of their debut.
Before interview, I documented that the premiums earned in just over 10 years. A brilliant career to an irrepressible talent, as soon countered by his father who wanted him to be right, but in 1996 he graduated "Actor" at the Civic School of Drama Paolo Grassi in Milan since 1996 and is a founding member of the 'ATIR " (Independent Association of Theatre Research) riconosciuta e finanziata dal Ministero dello Spettacolo.
Nel 2000 frequenta il Corso Internazionale Itinerante di Perfezionamento Teatrale, direttore artistico Franco Quadri, maestro Eimuntas Nekrosius. Nell'aprile del 2002 vince il premio dell'Associazione Nazionale dei Critici di Teatro; sempre nel 2002 vince il "Premio Ubu" come migliore attor giovane. Gennaio 2003 vincitore del 21st International Fadjr Theatre Festival a Theran (Iran) per la migliore interpretazione, premio attribuito dall'I.T.I - International Theatre Institute - Unesco. Nomination ai "Premi Olimpici" del teatro 2003.
Premio "Annibale Ruccello" 2004, Premio "Olimpico" premio ETI 2004, premio "Vittorio Gassman come miglior giovane talento" 2005 for the interpretation of 'The Grey', a prize "Golden Mask" 2005 awarded by the public and critics. In 2006 for the play "The Grey" wins the "Golden Persephone" Special Prize of the critics. He speaks French and English. Winner "Golden Orange" Best Comedy Actor at the Festival of Groton, '97 edition, for having acted in "shit", directed by Claudio Saponara and presented at the Bellaria Film Festival.
He worked among others, with directors like Gigi Dall'Aglio, Ferdinando Bruni, and Gabriel Armando Punzo Vacis. For cinema, working with Silvio Soldini in "Bread and Tulips" and "Agata and the Storm." She also works in "Miracle in Palermo" Beppe Cino, in "And the laughing killed" by Florestano Vancini and "I Can See it in your eyes" by Valia Santella. For Radio Rai (The Third Ring) has read the novel "Fathers and Sons" by Ivan Turgenev. Here's what he says.
Return to the Little Theatre with 'Still Life in a ditch' which had already proposed long ago at the Teatro Verdi. We had seen and appreciated very much. Over time the text is changed?
No, the version that harbor scene is now complete, as the show has grown over the years, in the sense that I went deeper with the characters, who live a few tragedies. In a sense, every time I go on stage we add a detail, a feeling. Do you find yourself
participant or assigned, compared to what happens on stage?
failing interpreted, whenever I hear of tragedies like I think I feel really so tragic, because there is no separation. But doing this kind of work in the theater, I like to think that even those who look at me and try to listen more to what steps, if not see the television. It seems those filters that can cancel the TV creates when the events take place here as in first person, with the true shame that the TV disappears.
You mean that there are feelings that does not disclose the television screen?
Yes and it's always very difficult seguire casi simili, sempre esasperati dai media che trasformano tutto in fatti quotidiani.
Cambiamo argomento. Hai avuto grandissimo successo con questo testo e al Piccolo hai presentato ‘Il Grigio’ di Giorgio Gaber, primo attore in assoluto a interpretare un testo del Signor G. Ti consideri prevalentemente un monologhista?
No. Ho fatto ‘Farenheit 451’, tratto dal romanzo di Bradbury, con Luca Ronconi la scorsa primavera e la compagnia era numerosa e ne ‘Il silenzio dei comunisti’ ero con Luigi Lo Cascio e altri. In effetti mi piace assolutamente passare da una cosa all’altra. Il monologo รจ una full immersion col regista, ma poi mi piace condividere e relazionarmi with other actors.
you can choose what to do?
Well, if we could always do, in truth, I'd be able to choose the text. In company happens to be the engine of choice, but also you be chosen to do something. I am happy to have participated in good projects, this is what cconta.
How did you feel to have as a director Luca Ronconi, after founding the group with ATIR Serena Sinigaglia who always direct your projects?
The spirit is always the same and that's what counts. Serena and I work for many years and we were lucky enough to have been called together to make 'The Grey'. I can say that Piccolo also the environment is what matters to work and I can, I'm fine with them.
OK, but the difference between Serena and Luca Ronconi?
Ah, go live ... With Serena, we have the same age, we have done with the Academy, consisting ATIR together and there is a relationship of some kind. With Ronconi, great teacher, there to learn, to take a lot and in any case there is the dialogue that made me go with him very well. Specifically, each giving you different things and as a teacher Ronconi teaches you a lot, but do not you deny yourself. To say and do things on stage we need a dialogue with the director and this happens.
We're still in the group ATIR?
Yes, I am still in the group as a partner and support the company as still doing 'Still Life in a ditch'. Although most do not carry around the company, as before, are always in company with them.
Finally, you've done theater, cinema and even a bit 'of radio. Can you have your private life?
I have it! Without having started a family but I have it, a private life, even if it is not super busy. All in all, a work of this type, you can enjoy more leisure time special. My mate follows me, with great effort and I I do the same, when I can. And there is fine.
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