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. |
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1889-1990
1986-1988 |
PROFESSIONAL TRAINING Schools :
School of Arsenale theatre of Milan with Kuniaki Ida and Marina Spreafico. |
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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. |
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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
3e SEXE ? text and direction at Cité International Theatre and at Sorbonne University, Paris
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
Nome e lagrime, by E. Vittorini, adaptation and direction, Italie
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2011
2009 |
CONFERENCES « Shakespeare et les arts de la table », Auditorium of l'Institut National d'Histoire de l'Art (INHA), Paris
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1990-2013
2004-2013
2003
2002
2000-2004
1996
2009
2008 |
TEACHING Workshops, internships and classes
Solo una forma, un colore, workshop, text and direction of the show
PRIZES Trophées Alptis, Pedagogy Award
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2007-2008
1994
1993-1994
1992 |
OTHER
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 |
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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". |
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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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