“I act when I'm not on set”. Tony Sperandeo

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Francesco Marchina was born in Brescia in 1979. The first contacts with the stage take place in the tourist villages, where he works as an entertainer and stand-up comedian in the shows for the Venta club company, with which he has had various experiences abroad, including Malta, Egypt, Tunisia , Greece, Morocco and Spain. Over the years he has participated in events in many clubs as an imitator, his best gift has always been communication and the ability to empathize with people.

 In 2014, for the first time, he approaches the world of acting thanks to a leading role in a short film directed by Paolo Beneventi entitled “Angelo and Angelo". 

In the same year he began a training course in film and theatrical acting at the IDRA theater in Brescia, where he was able to experience the stage in various shows organized by the region. In addition to this he begins as a student a path of "Acting Coaching", whose teacher is the director Alfonso Bergamo (The boy from Giudecca - with Giancarlo Giannini, Franco Nero, Toni Sperandeo, Luigi Diberti), a partnership that will later give life to several you work together. A path that still continues, starting with the learning of the Chubbuk - Stanislasky method, with daily activities of introspection, training, facial micromimics. He studies mnemonically and interpretatively many monologues: American beauty, Introducing Joe Black, The 25th hour, Every cursed Sunday, Apocalypse now, 900, The legend of the pianist on the ocean, Will Hunting Rebel genius, Trainspotting, Radiofreccia, The devil's advocate , Lincoln, The portrait of Dorian Gray, The big kahuna, A clockwork orange, Rocky, Green book, The devil wears prada. 

Then begins a path of learning the English language, writing the subject and screenplay, and in-depth diction with the teacher Elena Romagnoli.

He participates in a masterclass at the Cassiopeia Academy of Dramatic Art in Rome, with Randal Paul, American actor (Eyes Wide Shut - Stanley Kubrick).

In 2016 he attended the Academy of Artists in Milan and learned acting techniques with great masters of Italian cinema and television such as Pupi Avati, Corrado Tedeschi, Claudio Moneta, Alessandro Capone.

He is called to Rome by the Director Alfonso Bergamo to participate in the set of “I remember when that happened”, an apocalyptic short film with Randall Paul, Tony Sperandeo, Craig Peritz.

In 2017 he gets a role as actor and voiceover in a pilot of a NETFLIX project, a TV series - Radical chic

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Educational Program

Educational Program

The purpose of the lessons is to teach students to be real in front of the camera, and therefore, to provide all the information and teachings possible to be able to perform authentic performances, made of real emotions. Being able to understand that acting does not mean pretending, but rather, telling who we are through a character.

Film acting requires truth, and to do it, the actor must know himself, if he wants to excite people he must first excite himself.

The points covered will be the following:

  1. Who is the actor: his communication, his availability to the camera, the tools;
  2. Authenticity: what it means, how to obtain it, the use of the eyes, the acceptance of one's body, introspection and use of the senses for memories and images of the past, impulses
  3. The character: complete analysis, reference, feedback, his goal, empathization work;
  4. The lines: analysis, understanding of the text, the single line, the pauses, breathing, memorization;
  5. The listening plan: its task, the listening technique, instilling energy and stimuli to the partner, acting without speaking;
  6. The set and the film plans: the organization of the set and its departments, shots, optimization of energy on the set;
  7. The monologue: preparation of the monologue, text analysis, character, emotions, expressions, memorization, personal reinterpretation by empathizing the text and its meaning;
  8. Dialogue: gender analysis, character text, the partner, listening, reaction, waiting for the joke, memorization of texts, authentic interpretation, use of the scenographic object, muscle stiffness.

In the first meeting, students will have to pay extreme attention to the path that leads from the "MEANING OF ACTOR" to knowing how to "CHOOSE YOUR EMOTIONS", it will be a path in which the class will arrive together with the concepts and the development of the method, through interaction , examples on stage, continuous references to actors, cinema anecdotes and teachings from great masters. You will try to understand how to tell your life in an authentic way in front of the camera, using the words of a text, to make the interpretation unique and how to use the tools of your own experience, and glue them to texts, jokes and scripts. We will deal with the subtractive formula in which the actor must remove and not add. We will try to learn to listen, because it is a fundamental gift, to receive and give emotions, not to think about the joke to say but to listen to our emotions. We will work on the texts with the aim of understanding them and reinterpreting them in their own words. The senses will be "trained" to remember things from past life and we will learn to understand what is the object of an image within us that gives life to an emotion.

A monologue will be analyzed by comparing it to a "mountain" in which to take the viewer by the hand in an authentic, emotional and reflective path in which he can see himself again. You will learn not to judge the character but to approach him through the things that can unite him with the actor. We will work on the use of the eyes, learning to tell a text even without the need to speak. Text memorization techniques will be applied.

You will learn to dialogue with your partner by analyzing impulses, spontaneity and breathing, combined with the management of your body.

You will learn the importance in a dialogue of the times and to respect them. Training exercises will be carried out to empathize with the partner.

Students will be able to interpret monologues and dialogues, in a constructive way because through the details and small corrections it is then possible to find a key that can make a difference also for the future.

Learning to be true, to accept ourselves, because the camera doesn't want us to lie to it, it wants us. Being able to provide all the information and teachings possible to the students in order to perform authentic performances, made of real emotions. Being able to understand that acting does not mean to pretend but to tell through a character who we are, to be unique, because the actor is the one who always has things to tell, but often it is not easy and must have the courage to go deeper to really be himself himself in front of the camera.

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