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ELEONORA MARINO

THEATRE DIRECTOR

 

 

 

 

 

 

 

 

 

 

 

 

Studied at the school of the Arsenale theatre of Milan, at the New York University and at the  Movement Research with R. Cieslack (Grotowski Laboratrium), Judith Malina (Living Theater), and Yoshi Oida (Peter Brook), Pantheatre (Roy Hart Theatre), Leo De Berardinis, Danio Manfredini, Giorgio Barberio Corsetti... She also studied mime, dance, contact improvisation, Tai Chi Chuan, Kabuki Theatre, Kyogen dance, Qi gong, Feldenkrais method and singing. She works as an actress in several productions in Italy, Spain, Denmark, France and in the USA.
Since 1990 she has been teaching, writing and directing various shows: 'The double bass' by  P. Sûskind, 'Les femmes savantes' by Molière, 'The Castle' and  'The Trial' by Kafka, 'Algérie, paroles de femmes', ... and also her own creations as  'Siriris', 'The enemy', 'Cooking religion', 'E471- Food for the soul'... and some performings as  : 'Léonard : une vie une quête', '3e Sexe ?', As good as the bread ; Cooking; Flavours of North Africa ; African roots ...
She teaches theatrical practice at the University of Paris III Sorbonne Nouvelle - UFR of the Theatrical Studies.

 

 

1889-1990

 

 

1986-1988

PROFESSIONAL TRAINING

Schools :
New York University, experimental department, with Saskia Noordhoek Hegt and Richard Cieslak (Grotowski Labiratorium), Judith Malina (Living Theatre) and E. Stiefel (Théâtre du soleil).

 

School of Arsenale theatre of Milan with Kuniaki Ida and Marina Spreafico.

 

1983-2004

WORKSHOPS
Contact improvisation with Felice Wolfzahn and Voice and Movement with Kristin Linklater, at the Movement Research of New York; professional school of Qi Gong; Alfred Tomatis method; « On stage », performing theatre in English.
Theatre workshops with: Yoshi Oida (actor of Peter Brook); Giorgio Barberio Corsetti; Danio Manfredini; Jean-Paul Denizon (actor of Peter Brook); Leo De Berardinis; Mamadou Dioume (actor of Peter Brook), with P. Ibbotson (Royal Shakespeare Company); Linda Wise and Enrique Pardo (Roy Hart Theatre); Saskia Noordhoek Hegt and Maria Consagra; Kabuki Theatre and Kyogen dance with the Japanese company Numura.
Vocal training with Venice Manley (Roy Hart Theatre) and Gilles Petit at Odin Teatret (DK); Michiko Hirayama, Ambra D'Amico (IT).
Studies of mime; acrobacy; classical and contemporary dance; lyric singing; Tai Chi Chuan (with   master J. Kwok NY) and "teatro d'animazione" at the Teatro Del Buratto.

 

2011-201

 

2008-2012

 

 

 

2008  

 

 

2007

 

2006

 

2005-2006

 

2004

 

2003

 

2002

 

2001

 

 

 

 

 

1999

 

1998

 

1997 

 

 

1996

 

1994

 

1993

 

1992

 

1992

 

1991

 

1989

DIRECTION AND WRITING

Pane – Everybody seeks their bread, text and direction, artistic residency at la Villette and at 104, Paris


As good as the bread ; Cooking; Flavours of North Africa ; African roots  ; Chocolate ; Enchanted feast ; L'Afrique dans l'assiette ; The taste of travel; performances, conception and direction, France
Cooking-the journey
artistic residence at the Biennale of Young Creation in Houilles text and direction


E471- Food for the soul, text and direction, during the artistic residency for the Biennial of the Young Creation at Houilles. Paris

 

3e SEXE ? text and direction at Cité International Theatre and at Sorbonne University, Paris


Leonardo : une vie, une quête, text and direction at Couvent des Cordeliers, Paris


Cooking Religion, text and direction, France-Italy


Parcours performatif, text and direction, at Cité International Theatre, Paris


Algérie paroles de femmes, by various authors, direction, Paris


The mountain giants by Pirandello, adaptation and direction, Paris


Il cuoco prigioniero, by Piumini, direction, Milan

L’isola dei  pappagalli, by Tofano, direction, Milan

Peter Pan by Barrie, Fipo and Sigfrido of Righini, Milan

Il buffone text and direction, Milan

Jeux de famille, adaptation and direction, Paris


The enemy, text and direction, Milan


The double bass, by Patrick Süskind, direction, Italie


Les Femmes savantes, by Molière, adaptation and direction, Italie

Nome e lagrime, by E. Vittorini, adaptation and direction, Italie


Love tale by H. Hesse, adaptation and direction, Italie


Il visconte dimezzato by Italo Calvino, adaptation and direction, Italie


The Castle, adaptation of Kafka, adaptation and direction, Italie


The Trial adaptation of Kafka, adaptation and direction, Italie


Siriris text, Italie


Verso La Quiete, text and direction , Italie


In alto Mare de S. Mrozek, assistant director with  Claudio Orlandini, Italie

 

 

2011

 

2009

CONFERENCES

« Shakespeare et les arts de la table », Auditorium of  l'Institut National d'Histoire de l'Art (INHA), Paris


« Quand l'art se met à table », at the "Terra Madre d'Eurogusto of Slow Food", Tours

 

1990-2013

 

2004-2013

 

2003

 

2002

 

2000-2004

 

1996

 

 

 

2009

 

2008

TEACHING

Workshops, internships and classes


Theatre teacher at the University of Paris III Sorbonne Nouvelle and Paris VIII (Saint-Denis) and at the University of Boulogne-sur-Mer
Le Voyage et l'Errance, workshops, Paris


Nel Cuore del Fantastico, workshops at the School of Medieval Dramaturgy, Syracuse


The Body of the Actor, project with several workshops

 

Solo una forma, un colore, workshop, text and direction of the show
Several workshops of Contact Improvisation and theatre 

 

PRIZES 

Trophées Alptis, Pedagogy Award


Awarded the Biennale of Young creation

 

2007-2008

 

1994

 

1993-1994

 

1992

OTHER
Member of the Jury of the Biennial for the Young Creation of Houilles

 

Organiser of workshops with Mamadou Dioume on Shakespeare's Macbeth

 

Curator of a photography exposition and text for the catalogue of Teatro e immagini by the photographer Roberto Rognoni 

 

International Meeting of theatre directed by Sarah Cusik, Paris

STAYING NOTE

« These are several elements which compose a show: the actors, the text, the music, the stage scenery, the lights, the staging, the place, the smells ...

The actor's part is essential. He must find his deep connexions in the show's universe.

Extremely specific situations become the expression of a "whole". My approach is extremely physical and the target is a research of the qualities of the actor's energy which can also be called "the actor's biology". This physical and vocal work doesn't reduce the significant of the text, on the contrary, it increases its weight. The words must find their space of liberty and truth and become a "weapon".

The research of pictures by the actor requires a great disposition to receive new expressive shapes, releasing oneself from the formulas and stereotypes usually used.

The object as a scenic element acquires an essential presence and changes according to the needs, to sometimes become an extension of the actor's body. »

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