Between art and acting. Alessandro Preziosi
Between art and acting. Alessandro Preziosi
with
Alessandro preziosi
To listen the podcast in ITA
on Spotify here
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“Chance is the combinatorial element on which everything that has life depends, the life that we see reflected in the mirror. By pausing to reflect in front of the work we realize that
Chaos is the only possible order.”
Michelangelo Pistoletto artist
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Theatre - Biography
Alessandro Preziosi, Neapolitan, born in 1973, graduated in Law, attends the Accademia dei Filodrammatici. Since 1998 he has participated in Amleto by Antonio Calenda, in Cyrano by Corrado D'Elia, in The Last Hours by A.I. by Tommaso Mattei, to Agamemnon, Coefore and Eumenidi by Antonio Calenda, Give me three caravels! and The Bridge by Carmelo Pennisi and Massimiliano Durante, to Armando Pugliese's Hamlet. Since 2012 he has interpreted and directed Moliere's Cyrano de Bergerac, Cyrano sulla luna and Don Giovanni with considerable success from audiences and critics
In 2005 he founded Khora.teatro together with Tommaso Mattei and Aldo Allegrini, for which he produced numerous shows.
In the three-year period 2012-2014, he was director of the Teatro Stabile d'Abruzzo.
Since 2013 he has been Program Leader of the D.A.M.S. degree course. of the Link Campus University of Rome.
Khora.teatro is today a theater production company based on the experience and skills of Alessandro Preziosi, artistic director, Tommaso Mattei and Aldo Allegrini, recognized by the MIBACT, Department for Live Entertainment, and in close contact with distributors and theatrical distribution circuits on the national territory, with various cultural institutions and bodies, as well as with foundations and universities.
Khora was founded in 2004 with the aim of pursuing a strong and coherent editorial line in the field of live entertainment and its multimedia applications, making collaboration between the different artistic disciplines its strong point.
Totò, beyond the mask
On 15 April 1967, an unparalleled actor passed away, capable of giving voice to post-war Italy with his extraordinary "revolution of language", with his grimaces and verbal jokes, fifty years after his death Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfiro – son Gagliardi de Curtis of Byzantium, more romantically Totò, has never stopped making us feel his presence. His mask, the smiling and sad emblem of the urban underclass in a crushed but alive Italy, didn't do it, and the man, nostalgic and fragile, who seemed to have little or nothing to do with that mask, didn't do it. The reading between letters, interviews, fragments, music and poetry retraces the actor's career, ideally starting from his relationship with the theatre, which with an apparent paradox can better than anything else serve as a key to revealing the man beyond the mask of interpreter. Because there were a Totò and an Antonio De Curtis. And for both you can only have, to paraphrase one of his songs, "only one word: love and nothing more".
Waiting Re Lear, 2023
“The undertaking is quite fraught with obstacles, not very simple. However, the fascinating staging, in this Waiting for King Lear by Tommaso Mattei, with the leading interpretation of Alessandro Preziosi, clings with all its might to the dear themes treated by Shakespeare in this tragedy and does so with a scenic, interpretative and above all dramaturgical with new drive and innovation. And also skill, given the arduous operation. Which, thanks to the passionate, intense interpretations, to the text, to this impactful and convinced journey that Preziosi has been following for several years, in this adaptation by Tommaso Mattei, rises as the minutes pass, thanks to various components, including visual ones. . It is a different point of view of Shakespeare, where at the center however remains madness, abandonment, maturity, power, somehow surrounding the bonds between fathers and children, which by their very nature are often complicated. Where another absolute protagonist is love, despite the complications. Mattei and Preziosi combine the Bard and Beckett's Waiting for Godot with a refined mixture, dramas of waiting and hope, of being in depth a son and a father, a theme that is also very close to the Neapolitan actor's heart. But within Waiting for King Lear there are certainly no escapes from delusions, misunderstandings, and an underlying loneliness light-hearted by the Fool (the prepared and bold Federica Fresco), suffered with inclination for the help of the ruler's daughter, Cordelia, the only one on stage , the one who truly loves him. It takes concentration and a fair amount of attention not to get lost in the meanders of the text, in the very beauty of the scenography that makes works by Michelangelo Pistoletto available, offering them as Nature, Passages, Dividers. There is a slight risk of being overwhelmed by the collision with the creative material of the Maestro's works, it is a nice exercise to be fascinated but adherent to what happens, and the same happens for the sensitive notes of Giacomo Vezzani that creep in here and there, precious (excuse the pun) and perfectly matched to what happens on stage, and beyond that, detaching itself from the show itself. Let's not forget the costumes, themselves inherent to Pistoletto's works, of the Cittadellarte Fashion B.E.S.T., a being within Nature and Man. We are in the essence of Shakespeare's Lear, in the awareness of one's own being, in the return to the pregnant human without ambitions of any kind, without power, without meanness. Metaphor of the human condition, as we read in the show notes, and, indeed, new knowledge, reality. The characters, five in all, are those who love Lear and protect him: Kent, Edgar, the ungrateful daughter of his children, and Glouster, to whom Nando Paone gives certainty and presence, moving well on stage, Cordelia herself. Everything moves in an abyss, from where we try to climb back up, to recover. Preziosi is an excellent actor and also grows as a director, he suffers annihilation in the role of Lear and regains lucidity, finally loved, and informed of this, abandoning madness and delusions of grandeur. It is a continuous waiting, from the initial nothingness, to nothingness. Knowing how to bring wisdom and help from others with you.”
Font
Francesco Bettin
Sipario
Between art and acting
with Alessandro Preziosi
to listen the podcast in ITA
on Spotify here
Art and acting
The Shakespearean work brought to the Roman Theater is in a new representation, and sees the presence of the maestro Michelangelo Pistoletto with costumes and props,
the art that enters and participates in the Theater and expresses itself in other forms.
A space for art that brings back into people's lives the dynamics of pure creativity, of the expression of free and highly communicative contents, of a search for knowledge and truth.
A dimension of life in which listening and imaginative desire, where they alternate and find breathing space, in which classicism experiences a new contemporaneity, to give each spectator different inspirations.
