In this monologue Valentina is Leni Riefensthal, muse, dancer, actress, director, photographer, innovator of the cinematographic language, pioneer of new shooting techniques, inspiration and teacher for generation of filmmakers. Through the report of the 1936 Olympics Valentina gives voice to the thousand contradictions of this woman too close to the fire of the Nazi regime to not compromise herself, she epicly recounts, remixes several theatrical still passing from naturalism to abstraction, from lyric to Brechtian theater reconstructing the sent story: that of a woman symbol of the shadows of the twentieth century, who appeared in the new millennium, bringing with her an enigma never solved.
|Titolo originale||Pericle il nero|
|Production||Italia, Belgio, Francia|
Frankly, I don’t give a damn is a project directed by Antonio Latella loosely based on the novel Gone with the wind by Margaret Mitchell, made known to the general public thanks to the film version of Victor Fleming starring Vivien Leigh.
In a universe that oscillates vertiginously between the grotesque and the pop, between the textual reflection and the contemporary, Valentina Acca plays Rossella O'Hara and then, in the arc of almost ten hours of show, four other characters, including the colored caregiver Mamy and Frank, Rossella's husband. Interpretations so varied and unsettling that they are worth the UBU 2013 award for best leading actress.ASCOLTA AUDIO
In Don Giovanni, at dinner with you Valentina tackles the great classic of French playwright and actor Moliére interpreting one of the most coveted roles of the european theater. The romantic heroine Donna Elvira, abandoned by Don Giovanni, who seeks him to take revenge and because he repents of his misdeeds. A role that interprets with refined sensitivity, in search of the fullness of feeling and that has taught her so much from a professional and human point of view.
Altar for one voice: Maryam by Ken Ponzio directed by Antonio Latella addresses the tragic story of the Turkish girls forced to commit suicide to save the honor of their family.
Valentina, alone on stage, sings, dances, enjoys and has fun.
It tells a story with a pop and provocative rhythm at the beginning, which then gives way to more dramatic and reflective atmospheres. A trial for an actress that is also an indictment of the unjust and inhuman laws of patriarchy.
In one of the most important and beautiful texts of the Neapolitan theater tradition, Valentina Acca is Ninuccia, a dreamer and full of desire for freedom, trapped between a marriage that makes her unhappy and an impossible love. His interpretation, melancholy and angry at the same time, restores the unconscious fury of Ninuccia, which thus becomes a symbol of rebellion against family impositions.