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The course of cinematographic recitation has a mostly practical laboratory character. All the students will be very engaged with lots of exercises in front of the camera and with the reflectors which are like on a true and real cinematographic set.

THE COURSE IS DEVELOPED IN THREE YEARS

1° PHASE
In this first phase in order to pull down that invisible wall that is interposed between the camera and the interpreter, the actor will be insert in the mechanism of the cinematographic language which makes it due to its visual fragmentation, difficult to understand the unit of the work during the projective and realizing phase. To recite in a set it is presupposed to know how to use technical means for the shooting: the camera, the lights, the microphones can limit the abilities of an actor who must be familiar and concentrated also in very crowded set.
During this first year there will be analyzed then all the means of expression of the actor which are the instruments, that is to say those he will have to use in order to interpret a personage (voice, body, look.) and since every actor has its precise and unique characteristics the teachers will analyze the innate abilities of each student, those mainly developed and those that instead will need an ulterior development. In particular:

- the stage presence
- the own image
- the voice (study of the vocal tonalities, of whispers, of screaming, study of the "sporcature")
- the body(expressive potentiality of each part)
- the glance (fundamental instrument for the cinema actor)
- Potentiation of charisma of the actor (the energy of the gestures, energy of the entrance, energy of his glances)
- Exercises of concentration and abandonment
- the improvisation
- Practices of extrapolated pieces of best-seller films
- the invisibility of technical means
- the visual fragmentation (the cinematographic shot, the cutting, close-up sequence, varies clapper....)


2° PHASE
This second phase is developed in two years Once passed the technique and artifice of the putting in scene, the actor must be abandoned himself to a profound distance that will carry him to a journey in the several human typologies. A journey (also exhausting) in order the search feelings, emotions, states of mind, psychologies of several personages, while they are facing themselves during the year with several practices and short films, realized by the students of direction.. In particular:

- the putting in scene: to study a course, the movements, the expressive synthesis.
- Analysis and study of the text
- the under-text
- the plans of listen
- the dialogue
- the monologue
- the direct shot
- the dubbing
- Exercises of style (All those interior elaborations and extreme states of soul that the actor will have to develop with rigor and fantasy in order to depart himself as most as possible from the stereotypes. To recite is the art of feeling and the way must be original and deep concerning the expressive characteristics of every single actor....)

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