Theatre and Art are enemies of bigotry and artists are not slaves to any ideology
Director, actor and teacher of corporeal mime (Decroux technique), mask and commedia dell’arte, specialised in theatre pedagogy.
Student of mime master Etienne Decroux
Michele Monetta teaches mask and corporeal mime at the Italian National Academy of Dramatic Art Silvio d’Amico in Rome. He teaches acting and commedia dell’arte at choreographer Maurice Béjart’s École-Atelier Rudra dance school in Lausanne, Switzerland. He also teaches dramatic movement education at the theatre school of the Teatro Nazionale di Napoli in Naples.Read more
Actress and teacher of corporeal mime (Decroux and Flach techniques) and the Feldenkrais Method, specialised in theatre pedagogy.
Student of Marise Flach, Monika Pagneux and Vera Bertinetti.
Lina Salvatore teaches corporeal mime, the Feldenkrais Method and theatre pedagogy as part of the professional development courses at the National Academy of Dramatic Art Silvio d’Amico in Rome and has led workshops at the International Dance and Movement Center (IDMC ) in Budapest. She also teaches vocal and corporeal education at the theatre school of the Teatro Nazionale di Napoli, Naples.Read more
the founding of this association gives me an immense pleasure. I am well aware of how much effort you will be putting into this new enterprise, but I am confident that it will represent an important step in your professional development as well as a quality reference-point for Neapolitan theatre as a whole. I like your idea of bringing together specialists from different artistic disciplines, including theatre, music and architecture. This is also one way to contrast current trends by working on creative contamination rather than on cultural confusion. I really appreciate your skill in forging your own professional path while keeping alive the ties with a master of the calibre of Etienne Decroux, whose memory and legacy are constantly proven to be of great worth. I have seen you at work; I know how skilled you are in passing on the techniques that you have assimilated and the ethos to which you belong. I believe in the success of the adventure you are about to embark on and I wish you and your new partners all the best in your work.
Eugenio Barba Manager
Study the anthropological basis of forms of communication such as theatrical, verbal, non-verbal, and of corporeal languages with respect to the specific historical, environmental, and cultural characteristics of regional, national and European geographical areas. Rediscover the corporal languages of communication both in terms of cultural behaviour tied to traditions and in terms of the extreme technical and artistic formalization of various expressive forms.
Review and redesign the language of the body and of visual and musical theatre with respect to the revolutionary impact of modern mass media on the new systems of relationships between people: time and distance are reduced or eliminated; distant worlds are brought together in real time; the use of technological devices and filters (information technology and telematics); relationship and form between real reality and virtual reality. Communication systems will be explored and studied through the senses of ancient civilizations and cultures with respect to the growing remote communication.
Acquire a set of theoretical and scientific skills from experiencing interferences between corporeal language and non-verbal communication, gesture and psychology of writing, formalized artistic languages in the fields of music, musical theatre, mime, dance, theatre, record and audiovisual productions, and in developing the scenic space and costumes as elements of dynamic and spatial dialogue between nature and artifice.
- Etienne Decroux
- Marise Flach
- Monika Pagneux
- Vera Bertinetti
- Rena Mirecka
- Moshe Feldenkrais
- Mark Reese
- Barbara Ury Sparti
- Eduardo Bellingeri
- Roberto Danese
- Marco De Marinis
- Giovanni Greco
- Tadeusz Lewicki
- Giuseppe Rocca
- Lorenzo Salveti
- Annamaria Sapienza