Classical Theater School “Giusto Monaco”

debut at the greek Theater

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SCHOOL

The “Giusto Monaco” classical theatre school places the theory and the practice of classical theatre as the basis of the formation of an actor, giving students the possibility to debut at the Greek theatre of Siracusa during the classical plays.

Every year, young people from all over Italy take part in auditions for a place on the three-year courses, thus beginning a process of personal and professional growth.

This process sees the students taking part in classes in acting, diction, history of theatre, dance, theatre-dance and stage-fighting. Students also have the opportunity to take part in workshops and labs with directors and actors of national and international fame. This experience culminates in the participation of the young actors in the cycle of classical plays and their debut on the sacred stones of the Greek theatre of Siracusa, in front of thousands of spectators; a first step of great prestige at the beginning of their careers as professional actors.

teachers
OF “GIUSTO
MONACO”

Acting: Battistini Andrea, Bronzino Emiliano, Zanoletti Antonio, Piazza Graziano, Pozzi Elisabetta, Evangelisti Adriano, Basile Sergio, Salvo Gianni, Cartia Simonetta, Pizzech Alessio, Magelli Paolo, Boso Carlo, Daniele Salvo.

Dance: Capodieci Maria Carmela
Musical ed. : Sampieri Salvatore
Diction: Ierna Attilio
Acting in Verses: Giovannelli Flavia
Singing: Polic Greco Elena
History of the Theater: Sterrantino Auretta
Dance Theater: La Ferla Dario
Ancient Dramaturgy: Norcia Giuseppina
Voice ed.: Della Monica Francesca
Scenic Fencing: Cimaglia Massimo
Makeup: Caldarella Aldo

1st YEAR

After a first introductory phase and the development of communication skills, exchanges and relations between individuals and the group, and the construction of a “shared alphabet”, the individuality of the student will be developed and any group/dynamic, psycho/physical, mechanical, or motivational blocks will be identified. In addition, emotional and sensorial maps of each individual will be created, mood and self-confidence will be reinforced, along with the value of working on oneself and the amplification at work with others. The correct relationship between emotion/voice, emotion/body, emotion/interpretation will be developed; relaxation, urgency, sensorial observation, rhythm, choral qualities, courage, empathy, awareness of one’s limits as a resource and starting point for working to reduce negative effects for the actor’s task. This part of the training is the sound base on which to develop successive actions. Various technical disciplines will be developed transversally. Students will focus on sight-reading, dialogue, text-analysis, correct diction, and also on the right use of the voice, song, musical education with special attention paid to musical dictation and rhythmical dictation.

2nd YEAR

At the beginning of the second year, care is taken to reactivate the psycho-physical and technical aspects, as well as the strong sense of being a group. A period dedicated to narration and storytelling begins which serves to refine one’s skills of execution. The student/actor becomes the means to give multidimensional shape to characters and events. The action of ‘writing’, (descriptions, thoughts, morphologies, actions,…) stimulates and refines mechanical skills and the development of the physical and facial mask, it amplifies the aptitude of precision, detail, requirement, costume, differences of age, movement and voice, and it accustoms the students to ask questions and search for the smallest subtleties within the text.
In the second part of the year, the acting teachers hold workshops about ancient tragedy and comedy which conclude with public performances. Activities for various techniques continue. As in the first year, activities of tutorship and teaching continue parallel to the period of the tragedies. Final feedback.

3rd YEAR

The beginning of the year follows the scheme of the second and therefore particular attention is paid to reactivating the psycho-physical and technical aspects, as well as the strong sense of being a group.

During the third year, the emphasis is on meetings and workshops with directors and public performances. A series of open classes and two meetings (one at Christmas, one in January) are held.

Between February and March the students will work with the director chosen for the final performance.