Confessions of a polyhedric actor


Gianluca Da Lio: actor, formator, 28 years old, Venetian.

Aspiring anthropologist, professional dreamer, tireless optimist.





When and how did you understand to be cut out for being an actor? Which are your studies?


You know, to the present I still not got it! Irony aside, it was on the last days of 2006 Spring. I was about to début with my first play: A Midsummer Night’s Dream by W. Shakespeare, result of the theatrical workshop, directed by Marzia Bonaldo. I was a curious and undisciplined high-school student, irreverent and full of energy. I was attending the high-school theatrical workshop a little for fun and a little for curiosity. The night of the début? I remember it as if it were yesterday: the scent of make-up on the skin, the whispers in the backstage, the floodlights on the face and the public ready to listen to you. In that moment I felt mayhap the strongest emotion of my life: I felt in love (sick) of the theatre. After the diploma, matriculating in Languages at’Università Ca’ Foscari di Venezia, I started to follow theatrical workshops, a collaborating with the university theatre and with different realities on the territory. I then graduated as an actor at the Accademia d’Arte Drammatica “Palcoscenico” del Teatro Stabile del Veneto directed by A. Gassman. Many have been the masters and numerous formative and professional experiences; for example I can remember the experience I had in Paris at the École Internationale de théâtre Jacques Lecoq. The most important lesson? Doing theatre is a job as all the others. It takes resolution, study, discipline, effort, respect, punctuality, passions, sensibility, culture, a lot of contact with the public.



How hard is switching from one character to another?


It depends. It is necessary a grounded work of character building (posture, voice, attitudes, research of credibility and truth etc.), which allows you to “enter the character” and above all to “stay in”. Maybe this is the real difficulty.

Have you ever had identity crisis?


Theatre – I would say almost by definition – distresses you. It let you explore part of your personality that are unknown to you, it proves yourself, even harshly. During the play of a show you meet/collide with the character: you give it life, emotion, depth to the lines printed on the script. In these days I am dealing with a character that is giving me a hard time: Iago, nefarious antagonist of Othello (‘Otello e Jago – il bianco e il nero’, suggestioni da William Shakespeare, regia M. Bonaldo, Mondonovo). Iago fascinates me, seduces me, but at the same time makes me wonder, throws me in “crisis”: studying the script, that words, heavy as come boulders, inevitably take me back to my personal experience, to my past. Why? Because I must believe in it to make my character “true” otherwise “the stage collapses”, in all the senses.



Which has been – for you – the most exaggerated metamorphosis you have ever played on stage?


My most exaggerated metamorphosis… I guess I haven’t met it yet.



As a good actor, sometimes you have to play also feminine roles of a certain thickness: how fun is it for you? Is it very challenging?


It often happen to me to play roles en travesti and I really enjoy it. Generally I become the “villain”, the witch, the queen of the ancient tales – evil e cruel. It’s complicate to interpret female roles: you must never fall into a caricature. And then you must have fun, enjoying the character, tasting the words.







Explain us your professional relationship (but also of amusement) with the Carnival of Venice and tell us if you endeavour into crashing the most beautiful parties of that period (if yes, teach us, mere mortals, how to!).


The Carnival is the time of the year I love and fear most at the same time. It’s a challenging period in every way, period in which my best health, physical and mental energy is demanded, ductility, flexibility. By now it is years that I “crash” the parties, contributing with my characters (Arlecchino and/or Casanova) to the show of very unique events. The spectator/guest is thrown back in the time, captured e immersed into the magic of the Venetian Eighteenth Century with opera singers, dancers, actors, acrobats e circus performers, with whom rises a nice synergy. Unfortunately these events are exclusive, and the price of the ticket is staggering.








Alessandra Sciarrino





All the photos are under courtesy of Gianluca Da Lio