Teaching

Luca
Angeletti

"... any action of a character in a story is nothing more than a reaction, instantaneous and imperfect, to a situation of external conflict, while his soul, at the same time, unconsciously seeks an internal mediation between and what is not he knows or does not remember he is and what he tells about himself. This is the consciousness of the character ... "(Robert Ashcroft)

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Biography

Luca angeletti was born in 1974 in Rome where he graduated from the theater school "Il circo aereo".

He is a versatile performer, who manages to unwind with nonchalantly between dramatic and brilliant roles. 

Attend several training in-depth study for acting. She then focuses on cinema and dance lessons. In 2003, she performed in the show "Nobody". Angeletti is also a screenwriter and director of short films: in 2004, with a work entitled The first day, received a prize al Giffoni Film Festival. In addition, you have initiated a teaching experience in experimental courses in cinema, photography and theater. On the small screen, we find him doormat for a capricious girlfriend like Marina Rocco in All crazy for love, as well as handcuffed by the deputy commissioner Simona Cavallari in Anti-mafia team - Palermo today.

In 2009 here he is in the romantic comedy I'm sorry but I want to marry you and in the detective film Cops, where he engages in the journalist's colleague Raoul Bova.

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Educational Program

Educational Program

In every scene, in every dialogue, all the actions that a character performs are, in reality, REACTIONS. The actor must identify one invisible, pure, instinctive inner reaction, sincere relationship something happened prima and that brings in, which expresses itself and is in conflict with avisible action, adaptation and compromise outside to something that is happening Now. Line by line, silence by silence, the mask takes shape from the compromise between heart and reason and adapts to the situation before him. The result of this compromise is the ACTION in the MASK. But the REACTION, comes before the action, is imperfect, it is the real breath that is seen in the eyes, which silently and secretly accompanies the needs of the heart.. Life goes on like this, continuously, it is not perfect, even the characters are not. Identify, therefore, that margin of imperfection, makes everything more human and closer to the viewer and allows you to tell stories about feelings, obstacles, conflicts, errors, misunderstandings, deceptions and lies, with sincerity and effectiveness without self-celebration and presumption. The actor has to bring all of this to life. And ask yourself, how in life, what I react to and how I react, not what should I do or how should I do it. Acting is not an aesthetic mode of expression, but a reactivation of one's ability to react.

From hero to actor is a guided experiential training course: 

Three things the actor must do for his character: identify what he is reacting to - what he is not saying - knowing how to repeat over and over without repeating himself. 

Psychology studies have compared the life of man to JOURNEY OF THE HERO within a story and the trials it faces to achieve its goal. Starting from the study of archetypes and myths, it is possible to identify constant and universal stages that characterize the natural evolution of every human being. 

This study method proposes to retrace the path made by each one up to now, collect as many elements as possible to understand which masks and which blocks have developed and why. It is a targeted research path, not to resolve the traumas and blocks that you develop, but to analyze the mechanisms that forced us to defend ourselves and close ourselves so much, to the point of betraying ourselves and developing the right mask for this or that situation. For fear of being judged, we find ourselves having to tell and tell lies. We sell an image of us that does not coincide with what we are, but with what we would like to be, or even that others are used to seeing of us. We convince ourselves that we are and we block ourselves, we go on building patterns, habits, manias, and the structure we have acquired and we think is our strength becomes, in reality, our limit. And the further we get away from us, the harder it is to return. We are proud of how we reacted, but disappointed that we had to betray ourselves for fear of being judged. Our intimate self-esteem drops and, over time, we become the first to judge ourselves, putting our hands forward, to cushion the blow of others, to tell us that we are humble and to let others say: "but no, don't worry, that's fine". The more we grow, the more this insecurity fades, not because it resolves itself, but because our mask crystallizes inside and we become that, full time.

  • Study of the universal behavioral archetypes that characterize and define the salient phases of life 

of each of us 

  • Analysis of how they affect and conflict with our free will throughout life and how we lose awareness of the mechanisms that govern us, homologating to stereotyped behaviors 
  • Recovery of one's uniqueness and one's creative independence 
  • Research work on oneself, individual and shared in a group 
  • Creative writing, construction of the character and his REACTIONS in the scene
  • Improvisation
  • Verification and feedback sessions 

The only way to be able to work at your best as an actor is to take this path and insert your subjectivity into the objectivity of the physiological life passages common to all, to develop knowledge and self-awareness and finally get to forgive ourselves, relieve suffering instead. to continue to be the first to judge ourselves, to go and play on our side again. Working on us as if we were a character, the character myself, I recall our roots and our passages of life, inserting them in a universal evolutionary scheme common to all, following a real map, which divides life into growth passages with a physiological duration of 7 years. In fact, from when we are born to when we die, we change our skin every 7 years. So, in this game, it begins my hero journey retracing the first 28 years. Four seasons of 7 years, up to the age of 28, which are fundamental, because they are those of training. 

  • The first season (0-7) is in fact a SPRING, a beginning, a rebirth and represents everything that is driven by a NEED, a REACTION to the previous state, to affirm what I am inside and outline my IDENTITY. 
  • The second season (7-14) is a SUMMER, that is concreteness, practical realization, logic, that is ACTION of containment and growth, which realizes the WILL to affirm what I am outside and give voice to my PERSONALITY '. 
  • The third season (14-21) is an AUTUMN, a sort of working and social New Year that leads to curiosity, dialogue, comparison, the real RELATIONSHIP, through which a voice and shape is given to identity and personality . 
  • The fourth season (21-28) is a WINTER, which closes the cycle and marks the return to oneself, as a refuge, a moment of recollection, an ACTION of SYNTHESIS and balance in which to metabolize deeply how much I can process of ME to strengthen myself. It is the maternal womb that lays the foundations for the restart of the next cycle and therefore creates the conditions for a new rebirth, a new spring. 

This first round of 28 years marks the passage from ABANDONO (from the mother) to the FORM (individual). It concerns the family sphere - friendship - and the development of one's personal ideas / culture, and is a preparation for the real journey that begins with the second cycle of 28 years in which entry into society is made and the transition from FORM to LIABILITY. 

The work is therefore to retrace my life year by year, until today, collecting forgotten pieces of me, the details of which I am made, the smells, the colors, the places, the people, the events, without treating them as simple memories. Remember who and what I am and not what I do or what I have done so far, it allows me to get in touch with a character and understand that, like me, it's not what he does or says, but what is capable or not capable of being.

  1. To finally be able to be honest with yourself, pretending to really be someone else
  2. Construction of a new and exclusively personal form of thought and action 
  3. Learn to take off all those masks we use every day, to be able to wear others of others
  4. Forming a sincere actor, not self-centered performance
  5. Understanding that the eyes are a window of breath, through which the truth of things as they are passes
  6. Let the character happen, leaving him free to react, not to act
  7. Accept and share one's insufficiency and transform it into one's MASTERPIECE
  8. Remove the masks instead of putting them on
  9. Repeat without repeating
  10. Self-evaluate
  11. Learn to breathe, listen and manage your breath
  12. What am I reacting to? Not what I am saying or doing

After all, if Peter Sellers in BEYOND THE GARDEN he said that "life is a state of mind ", acting can be too.

Masterclass

In-depth sessions dedicated to the study and implementation of techniques, methods and exercises that require an intermediate and advanced level of preparation.

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