Stories and emotions of the great tournèe ‘Cyrano de Bergerac’ directly from some actors of the company.
March 2013, © An initiative of ‘Alessandro Preziosi Fanpage‘.
Thanks to SALVATORE CUOMO
1.Who is Salvatore Cuomo? Tell us about yourself.
1. Good question, my parents have to understand yet, since when I was childthey found me in a basket on the tiles of the roof frost on a cold autumn morning. What can I say, I am a person who has always loved to be called humble and simple, perhaps today is for this reason that the new pope touched me so much, I got a little reflected, I always pursued my goals with calm but a lot of determination, behind a family that has always given me everything, from affection to the great sacrifices to make me one … I’ll, hopefully.
2. How was born your passion for acting?
2. The more time passes the more I realize that passion is born with me, a small art gene I inherited from my grandfather, Salvatore, let’s say that I am now following her passion for obvious reasons he has never been able to take. As a child I always had a love for the staging, from puppet shows cooked and served to the children of the neighborhood, the school plays I wrote and we put on stage. In middle school finally the turning point, with my teacher of literature who invited my mother to let me grow this talent. In high school, my professor of literature and Latin helped me, I opened the door with his lessons to the great classics, and the masters of our language and of our country, who have done much to forge a basis for what I would have done in below. That holy woman still has a grudge with me, because I did not take part in a play at school. After this, the link Academy of Rome, a three-year I will never forget, great teachers, great friendships and even large dickheads.
3. It ‘just finished the tour of Cyrano De Bergerac. How did you get your role in the company?
3. I had just finished doing laps of phony agencies, and auditions for shows of questionable reliability, so I was a little dejected and reluctant even to play my card Cyrano de Bergerac, then I realized that probably of my friends and colleagues I l ’ only one not to have applied to the specimens. I decided to go this route also, in this case I doubted myself more than the show itself, as I had in the past. The day of the audition I did not even expect to have to be auditioned by Alessandro himself, to be taken by two cameras and do what I did. I had prepared a little surprise, one of those who do not get hired if you join the list of anecdotes of someone. I came out of the dressing room in thong male with a bag in his hand and walked in the class. There were other guys, so the emotion was a thousand, Alessandro shook my hand and almost hard to believe that I was really in those conditions, in fact after I explained that I recited the prologue Jeffreys, The Libertine, I said, “I thought you brought Full Monty.” The audition went well, as well as the next and I found myself doing readings at the table, face to face with one of the most sought after actors in Italy.
4. Tell us about your character.
4. Should I speak of my characters, because in reality there are 4. The first is the musketeer, the classic young greenhorn and arrogant that would attack even bother with a saint, and who cares cheerfully rules, both civil (enter the theater without paying, and fight with his faithful partner) and moral (enter pastry and try shamelessly with the wife of Ragneau, before the poor guy completely unaware). The second is the Marquis de Brissaille, perhaps the most that I have left in my heart, I have tried to work in costume, in the words of Molière, or trying to show the audience not so much the character of a character, but the character himself, how to put in the reality of time, with much coaxing, stuffed walks struts, chin held high and many small caricatures of those nice scoundrels of seventeenth-century nobility. The third door the henchman of Nesle, even if it appears for a total of a couple of minutes, we’ve always been into, trying to make the most of dynamism, precision and determination to contribute to the success of the choreography. And then, well, the cadet of Gascony, there is obviously out all the camaraderie that slowly has been created between us guys, especially the males, because we have shared so much on tour, inside and outside the theater and then when you are so close-knit the military spirit, even if you’ve never been able to feel the suffering of war on the skin, it turns out. Oh there is also a fifth character, that the mysterious man screaming from behind the scenes before the door of Nesle, jokes behind which hides all the meaning of the work, no it is not true.
5. How was working with Alessandro Preziosi?
5. Working with Alessandro has been until now the experience of life with him and Karpov was like he never really finished the academy. In many replicas have learned so much from a man on the stage is an animal tends to devour everything and everyone, with his strength and his desire to do, it was hard to keep up. There was a lot a lot of emotion at the beginning, at first reading, as I wrote before, because it really was hard to believe that exchanging words with someone like him. Would you notice your every gesture, every emotion or your eyes, or even tears, to see how much you try to do for the show and to prove yourself.
6. What left you this experience?
6. This experience left me with a great responsibility, a great sense of duty, a great deal of respect for myself and the people I work with, but especially ecstasy for the public and for the thrill of acting.
7. Future Projects?
7. Future projects? Build a ship, to carve the head of an eagle on the bow, arming a crew and make incursions and raids west in the name of the gods, promising my men slaves, virgins and how much wealth even more greedy man of the earth will ever see.