Trainer
Experience
Giorgina has been involved in acting and drama teaching from 1996.
She founded in 1998 «International Acting School Rome», and the Cultural Association, «International Acting Society», specializing in Drama Teaching of which she is the director. The«International Acting School Rome» aims 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 for the Municipal Area XVI and the Province of Rome.
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) with a thesis on Phonology of the Intonation (maximum mark and honours).
As director of the school she is responsible for:
- Teaching acting, elocution dramaturgy of action, the didactic planning of the Two Years Course in professional actor training with the qualification of Actor level 2, authorized by the Regional Government of Lazio and the Province of Rome.
- The weekly workshop of Stanislavkij-Strasberg’s System and Method training for apprentice and professional actors.
Responsibilities as Association director:
- ‘Theatre workshop’, in primary school Scuola Elementare e Media «Istituto Comprensivo Via XX Settembre», Monterotondo RM.
- ‘Cantieri’ Project 2002/03 Municipio XVI, middle school workshop «Via Vanni», Roma.
- Shakespeare’s project, ‘A school for theatre’ (Provincia di Roma) 2003/2004, Liceo Classico e Linguistico «G.V. CATULLO», Monterotondo (RM).
- ‘Theatre storytelling’ Project (Provincia di Roma) 2003/2004, in the high school «Labriola», Ostia RM.
- ‘Cantieri’ Project 2003/04 Municipality XVI, refresher course for primary school and kindergarten teachers on the link between games and fairytale telling to develop acting skills in children: title- ‘From Hide and Seek to Tom Thumb’.
- Refresher course for teachers authorized by the Lazio government board of education (MIUR-Ufficio Scolastico Regionale per il Lazio ).
More:
- Workshops in Acting and Text Analysis at the «Actors In Motion» School Munich, Germany (2004/2005).
- Drama teacher at PICCOLA ACCADEMIA «L’ARTE DI CREARE» GIANNI RODARI, Youngsters Academy of Performing Arts organised by the Association Arte Spettacolo & Didattica, in collaboration with Municipality Roma XVI, the High School Liceo Classico E. Montale and the patronage of the Rodari family.
- Coaching of young actors in the film ‘Brenda e Plotino’, directed by Giorgio Molteni (2000).
- Workshop: ‘System and Method, the Actor’s Score, Rehearsing as Flying’, at the 1st International Festival of Making Theatre, organized by the Theatre of Changes, Athens (July 2005).
Works directed:
- ‘Anatol’ by Arthur Schnitzler (1997).
- ‘Betrayal’ by Harold Pinter (1997).
- ‘Mirra’ by Vittorio Alfieri – studio (1998).
- ‘Il pane casalingo’ and ‘Il piacere di troncare’ by Jules Renard (2000).
- ‘The Dream’ by August Strindberg (2004).
- ‘The Trojan Women’ by Euripide (2005).
- ‘The Rules of the Games’ by Luigi Pirandello (2006).
- ‘Sulle labbra...neve’ based on ‘Hamletmachine’ by Heiner Müller with extra pieces from P.P. Pasolini, Harold Pinter, Thomas Bernhard, Annibale Ruccello, Franz Kafka (2007).
- ‘Friede den Hütten! Krieg den Palästen!’ based on Georg Büchner’s work (2008).
- 'Allacciati le scarpe!' (Lace your shoes up!) written by Giorgina Cantalini and the pupils of the secondary school «Istituto Comprensivo Espazia», Monterotondo RM (2009).
- 'All the 'Lotte' (Charlotte/fights) in the world' based on 'Why is John Lennon wearing a skirt?' and 'Adult Child/Dead Child' by Claire Dowie, 'Jordan' by Reynolds/Buffini and freely based on 'Wrong number-Gross und Klein' by B. Strauß (2009).
- 'Amati amanti' based on 'La Ronde', 'Anatol', 'Fräulein Else' by Arthur Schnitzler and 'The Bear' by Anton Chekhov (2009).
- mises en espace from Carlo Goldoni, Anton Chekhov, William Shakespeare, Tennessee Williams, Henrik Ibsen, Arnold Wesker.
Giorgina Cantalini:
Director of the Cultural Association International Acting Society and Dean of International Acting School Rome.
Education
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:
- ‘Psychological and ludic structures’: a course in theatre dramaturgy taught by Alessio Bergamo.
- A course and practicum in ‘dance preparation for small children’ at the Choronde, dance school lead by Monica Vannucchi.
- ‘Musical dramaturgy and practicum in musical didactics’ lead by Alessandro Magini.
- Theatre workshops with the pupils of the following High Schools of Rome: «Seneca», «Leonardo Da Vinci», «Democrito».
- Final examination practicum as step of an ongoing research into the links between eloqution and language (see below).
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 (maximum mark and honours) in 2008 and where she is now attending the Master on Linguistics.
“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