Teaching

Giancarlo
Scarchilli

"Everyone is acting except a few good actors."

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Biography

Giancarlo Scarchilli is a Roman director and screenwriter. He lived in London from 1974 to 1976. In those three years he intensified his writing of short stories and poems. Back in Italy, he becomes the closest collaborator of Sergio Citti and Vittorio Gassman

As a director and / or scriptwriter he takes part in "Two pieces of bread (1978)", "Minestrone (1980)", "From father to son (1978/82)", "Dreams and needs (1984 / 85) "and" Gassman Story (1985/86) ". He contributed, like author, in the first part of the play “Fa male il teatro” (director and interpreter Vittorio Gassman) together to Alberto Bevilacqua, Vincenzo Cerami, Roberto Lerici, hector Scola, Lina Wertmuller, Bernardino Zapponi, Caesar Zavattini. In the same period he made, as a director, documentaries and commercials for Chiquita, Michael Jackson, BNL, David Zard, etc. He also shoots the seminars held in the Bottega Teatrale di Firenze by Vittorio Gassman, Anthony quinn, Ettore Scola, etc. In the nineties he combines his work as a screenwriter with that of cinematographic director

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Educational Program

Educational Program

The course will deal with the analysis of the text, trying to understand the topic covered in the screenplay or in the monologue, highlighting the dramaturgically most important points of the treated text and identifying the most significant word (or words) within a scene or a joke.

During the lessons related to Text Analysis the following points will be dealt with:

1 - USE OF THE PAUSE AND TONE VARIATIONS

  • A good interpretation is made by the skilful use of pauses and variations of tone to highlight the most significant words of a text to be represented.
  • Do not make the mistake of thinking that you are more convincing and effective by focusing on the volume of the voice. Cinema works on the strength of the gaze and the authenticity of the performer. Before using your mouth, you have to learn to smile with your eyes. 

2 - "EMOTIONAL COLOR"OF THE CHARACTER

  • The three fundamental questions to ask yourself, as an interpreter, before facing a scene are "Who are you?", "Where are you?", "Who are you addressing?", Get into the mood of the character and remember that cinema works on naturalness and truth. 
  • Never make the mistake of having, from the beginning of the scene, the state of mind that you should have at the end of it. Often scenes end tragically… but they are not at the beginning; we must not make the mistake of having tragedy in the face and in the tones from the beginning of the scene. Follow the natural emotional movement that the performer has during the development of the scene.

For the meetings with the teacher-director Giancarlo Scarchilli 4/6 lessons are planned in order to be able to face three main work steps:

  • TEXT ANALYSIS of modern poems and various texts (individual work)
  • MONOLOGO (individual work for the focus of the emotional color of the character to be interpreted)
  • FILM SCENES (work with two or more characters)

For the meetings with the teacher-director, students will have to learn a poem by heart (to be chosen from those selected by the teacher-director). They deal with topics aimed at stimulating the emotional sphere of the student-actor to help him get into a character (the lover, the hero, the coward, the idealist, the villain, etc.).

The student-actors will have to bring with them all the poems sent and have a pencil, so that they can identify the words 'key' text and using the pause to highlight them. 

The monologues will be freely chosen by the student-actors and are aimed at making people understand the relationship between the director and the actor on the set.

The scenes, taken from films, will be assigned by the teacher-director based on the characteristics of the student-actors.

After the work on the analysis of the text, the variations of tone, the use of the rest and the 'emotional color' of the character to be interpreted, to make the student-actor understand how to relate to each other in front of the camera and the importance of authenticity in cinema. The first floor 'law' the soul, you have to learn a 'find' the right energy for the character to be played.

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