Giorgina has been involved in acting and drama teaching from 1996.
Since 2011 she is Tutor for the first year of the Three-year course Cinema, Television and New Media at the school «Milano Scuola di Cinema e Televisione» (Cinema Department of Scuole Civiche Fondazione Milano) and Head of Extracurricular Courses at «Milano Teatro Scuola Paolo Grassi» (Theatre Department of Scuole Civiche Fondazione Milano) in Milan.
She was Director of Innovation & Developmentat at «Milano Teatro Scuola Paolo Grassi» in Milan from 2009 to 2011.
«Milano Teatro Scuola Paolo Grassi» is one of the major public Drama School in Italy. as well as «Milano Scuola di Cinema e Televisione» is one of the most renown school of Cinema in Italy, both taking place in Milan and parts of the same Foundation called «Fondazione Milano Scuole Civiche».
She founded in 1998 «International Acting School Rome» of which she was the Head from 1996 to 2010, and the Cultural Association «International Acting Society», specializing in Drama Teaching of which she is the Director.
The «International Acting School Rome» aimed to give a complete training for aspiring actors and to organize workshops with artists of international renown as on going study for professionals. The«International Acting Society» is active in theatre teaching in schools, didactic research and projects (e.g. for the Municipal Area XVI and the Province of Rome).
She graduated in 1987 as Actress (first level degree), at the Italian National Drama School «Silvio D’Amico».
She graduated in 2003 with a second level degree, the equivalent of a Master, in ‘Drama Teaching and Pedagogy’, at the Italian National Drama School «Silvio D’Amico» (acceptance to the course was through an exam and qualification points system).
She graduated in 2008 in Linguistics (first level degree BA) with a thesis on Phonology of the Intonation (maximum mark and honours).
She graduated in 2011 in Linguistics (second level degree MA) with a thesis on Reported speech (maximum mark and honours).
As Head and teacher of the International Acting School Rome she was responsible for:
Responsibilities as International Acting Society Association director:
More:
Works directed:
Head of Extracurricular Courses at «Milano Teatro Scuola Paolo Grassi» (Theatre Department of Scuole Civiche Fondazione Milano) in Milan and Tutor for the first year of the Three-year course Cinema, Television and New Media at the school «Milano Scuola di Cinema e Televisione» (Cinema Department of Scuole Civiche Fondazione Milano).
Director of the Cultural Association International Acting Society and Head of International Acting School Rome.
Graduated ‘actress’ at the Italian National Drama School «Silvio D’Amico», has worked in the theatre and in cinema (see ACTRESS), meanwhile she has continued her acting training and studies incessantly in Europe and in the States, in order to develop her craft and find answers about talent and creativity.
Further acting studies: with Arthur Penn, director until 2000 and then honorary president of the «Actors’ Studio» of New York; Susan Batson, Elizabeth Kemp, Marilyn Fried and Geraldine Baron, members of the «Actors’ Studio»; from whom she learnt the fundamentals of the American school of the work of the actor, commonly and inappropriately called the Stanislavskij-Strasberg method, and infact related to the “Method”.
In 2003 she studied with the Russian director Anatolij Vasil’ev and studied in depth dramatic composition analysis and physical actions, aspects of the Russian school in the Stanislavskijan tradition.
As matter of facts she is one of the few teachers in Italy trained and able to train either in the “System”, either in the “Method”.
Movement and dance studies with: movement, Angelo Corti and Marise Flach (mime), Elsa Piperno and Stefano Valentini (Graham), Teri J. Weikel (Limon and Feldenkrais), Monica Vannucchi (Laban); voice, Iva Formigoni and with Kristin Linklater, head of the Drama dept. «Columbia University», New York.
She graduated in 2003 with a second level degree, the equivalent of a Master, in ‘Drama Teaching and Pedagogy’ at the Italian National Drama School «Silvio D’Amico», acceptance to the course was through an exam and qualifications points system.
As teacher training during the course she followed:
Finally she graduated with a thesis on: ‘Dynamic procedures for reading aloud’. The research dealt with problems relative to language and comprehension difficulties and the verbal transference of literary texts, the hypothesis being didactic solutions both for the improvement of verbal expression and communication as well as improvement of learning processes. In brief a functional link between physical action and enunciation and cognitive links between movement, imagination and phonation.
She is continuing her studies on Phonetics and Phonology at the University Roma Tre, where she took the Bachelor on Foreign Languages and Linguistics in 2008 and then the Master on Linguistics in 2011, both with maximum mark and honours.
“In acting, imagination has three aspects: impulse, belief, and concentration. Impulse “the leap of the imagination” may be conscious or unconscious in origin, but it is useless without belief, which is the actor’s faith that what he is saying, doing, and feeling is both interesting and appropriate. Concentration both causes and results from impulses and belief. The actor who has enough belief and will to follow his impulse is usually concentrated. On the other hand, much of the actor’s work consists in making himself sentient, in creating the experience, and this involves a deliberate search for the proper objects or means of becoming concentrated. In turn, a state of concentration leads to impulse and belief. In other words, the actor cannot really think on stage unless he is concentrated, and he cannot be concentrated unless he is really thinking on stage. Imagination thus operates in terms of these three interacting factors, and when all three are operating does imagination in acting actually function. Training the actor to be really alive involves his being conditioned to receive impulses from the imaginary stimuli, to make this real-that is, believable to himself- and thus to awaken the proper sensory, emotional, or motor responses.”
Lee Strasberg