Enzo Marangelo: Curriculum Vitae

Enzomarangelo5Careful and vigilant glance, melancholic and severe nature: Art is Enzo Marangelo’ s pure extension. Research is his own culture, experimentation is his intellectual vivacity.

Enzo Marangelo approaches Theatre in 1986, when he was 19 years old, after a first experience working for a local Radio Station. Enthused by his scholastic experiences, he founded the  “Compagnia Teatrale Solofrana”, producing, directing and acting shows in local dialect for his hometown’s (Solofra) audience. Since then, Theatre has never been for Marangelo an exhibitionistic vague , but an educational experience of a personal earlier than an artistic inner growing. Experimentation will always precede the academic studying, critical capacity will always force him to fully give his interiority in Theatre.

Firmly persuaded to convert this strong passion into a more professional and mature engagement, Marangelo signes up to the Accademia Cavese d’Arte e Cultura in 1990. Here, he studies the Stanislavskij’s Method and starts learning the first diction and theatrical history notions. With Mimmo Venditti, an Accademia’s teacher, he  decides to  bring up the School to Solofra, converting the ground floor of his paternal house into a little theatre. Marangelo’s aim is educating HYPOKRITES acting company’s actors, of which he will become the Director,  with more consciousness. The subjects studied are acting, theatre history, diction and body expression, the latter committed to Marangelo who experiments the affinity existing between acting’s and fencing’s discipline. Meanwhile, the shows produced for the end of the Academic Year make Marangelo come in contact with the protagonists of European Theatre: in fact, he interprets plays by authors like Shakespeare, Čechov, Rostànd, Ibsen.

In 1993, he gets the diploma as Actor and Director with top grades. One year later  he founds HYPOKRITES Teatro Studio Acting Company and simultaneously he carries on the Acting School’s activity. During these years  Marangelo compares his work with the Italian scenes’ ones: the pièces “Napoli Milionaria” and “Eduardo da ridere” by Eduardo De Filippo tour Belluno, Rome, Naples, Salerno, Avellino, Bari and Messina. Between 1994 and 1998, Marangelo in the Artistic Director of TEATRARTE, a festival of contemporary Theatre, taking place in Solofra. In the occasion of the tenth anniversary of De Filippo’s death, Marangelo invites the theatre critic Maurizio Giammusso, the first and most important biographer and expert of the Neapolitan author. This meeting starts a deep and intensive exchange on their common passion. In August 1994 , Marangelo takes part to the exhibition “Eduardo da Napoli al mondo” and to the event “Eduardo dietro le quinte” in the Teatro Antico of Taormina and to the Festa Nazionale dell’Unità in Modena, to which he takes part with Lina Wertmüller, Valeria Moriconi and Franco Angrisano; in Rome he takes part to the presentation of a photographic book by Giammusso based on the exhibition “Eduardo da Napoli al mondo” with Antonio Lubrano and Franco Angrisano.

Meanwhile, his actor’s versatility makes him go over the academic superstructures: every interpretation is the expression of a subtle critical capacity united to an instinctive creative vein. Moved, then, by an endless need for research and experimentation, Marangelo soon abandons Eduardo’s theatre and proposes, with his Acting Company, the internationally known classics: Shakespeare, Sartre, Miller, Pirandello, Čechov. In 1998 he becomes a member of “Compagnia del Giullare” Acting Company of Salerno. Because of that, Marangelo starts compare his work with the most prestigious stages in Italy (Milan, Trento, Verona, Bolzano, Rovereto, Naples, Pesaro, Macerata, Palinuro for the International Festival  “Dialoghi Mediterranei ed altri mari”) and with more others: in August 2001, “Compagnia del Giullare” takes part to the International Festival of Amateur Theatre of Montecarlo with a great success, representing Italy with the show “Isabella, tre caravelle e un cacciaballe” by Dario Fo, replicated, in November 2001, in Aix-les Bains (France) in the occasion of the Biennale “Charles Dullin”.

In the new HYPOKRITES’ directions, Marangelo looks for a closer confrontation with the audience: Trust in a Theatre that is neither a worldly habit, or an entertainment or a idle pastime, but a way to elaborate present to offer it to a demanding audience, inspires Marangelo to create the thematic interactive meetings, forum-performances that become the essential space for a communication that can go over the need of a dramaturgical text and reveals the theatrical sprit of a poem or a novel as long as it is fed by Truth. Marangelo gets fascinated by contemporary poetry and, collaborating with some jazz musicians, in 2004 he records the cd “Le note richiamano versi”, produced by AEBEAT RECORDS. In this cd he gives voice to Domenico Cipriano’ s verses, with music by Enzo Orefice who plays them with the contrabassist Piero Leveratto  and the drummer Ettore Fioravanti.

In March 2003, in partnership with the Università degli Studi di Salerno,  he starts a workshop on the “actor’s body”. Theatre becomes, then, a true research for spirituality, the deconstruction of every physical, first than moral, resistance, the instinctive expression of the individual. It is the Grotowskian maturation of the saint actor who offers to the audience his denudation, his self-penetration as an act of Truth. Theatre, for Marangelo, does not find the Essential in the text, that is still literature, but in the actor’s instinct. Theatre IS in  “La Zoologia Fantastica”, the imagination’s prosopopea, scanned by the overlying of Nature’s verses and sounds; it IS the secret crying of memories and no-returnings played in a hoarse solo of chipped stones in “Anime dello Spoon”; it IS the condemnation to a ruthless and eternal punishment to an endless movement of atrocious invariability in “Quad”; it IS the obsessive prison of the everyday life in “Geometrie esistenziali”. In August 2007, Marangelo meets the “ Theatrical machine” by Genet and creates, in partnership with the Von Sacher-Masoch Acting Company, the performance “La Cerimonia”, inspired by  “Le serve”. He learns from the French author  the psycho-drama experience. From this moment, he starts a deep study on the doubled ego , deformed by existential traumas. This research path leads Marangelo to the direction of “Alter Ego”, a psycho-drama on the inconvenience of “personalities”, on their “excrescences” and “protuberances”.

In summer 2008 Marangelo is the Artistic Director of the First Edition of “Orizzonti creativi”, a Festival of artistic events (Music, Theatre and Dance) held in close contact with Nature.This is a reflection on the saving force of Culture, Art and Nature facing the sensorial torpor that the Technology Era, stirring us, has finally imposed us.

Marangelo takes  also  part in the stages: TRUCCO TEATRALE, in January 1995 in Salerno with the make up artist Paolo Benincasa; ILLUMINOTECNICA in November 2002 in Salerno with the Light Designer Patrick Latronica (USA); IL CORPO TEATRALE in September 2003 in Salerno with Michele Monetta, teacher of Accademia d'Arte Drammatica Silvio D'Amico (Rome); TEORIA SULLE POETICHE DI ARISTOTELE (Western Theatre), BHARATA MUNI (Indian Theatre), ZEAMI (No Theatre) in March 2004 in Naples with Marco De Marinis, Professor of Dams of Bologna; The Demonstration-Lecture of BIOMECHANICS of MEJERCHOL’D held by Gennadij N. Bogdanov in Perugia in April 2004; WORKSHOP-IL MIMO CORPOREO-IL CORPO MASCHERA in May 2004 in Naples with Marise Flach from Piccolo Teatro di Milano; LABORATORIO DI ACROBATICA AEREA – I TESSUTI in July 2008 in  Modena held by Scuola di Circo TeatrAzionE of Turin.

Civil Theatre in everyday life: this is the new metamorphosis of Marangelo. From this perspective there is the birth of the latest artistic creations: “L’ospite inquietante: il nichilismo e i giovani”, a performance inspired by the homonymous book by Umberto Galimberti, and focused on the true scourge of nowadays society: the unconsciousness of young people, amorphous children of global market; “Numeri”, a theatrical study inspired by “Rogue Economics” by Loretta Napoleoni, based on the theme of Economics and on the consequences and conditionings that I has on our globalized society.

The willingness to prove himself in bolder and bolder artistic creations makes Marangelo develop a sort of performances-provocations, almost aiming to displease the audience, to move all that really purifies, that is Instinct, Fantasy, Imagination, and to make questions for a natural devotion to Doubt and Meditation.

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