Sensitivity at the centre of acting — Interview with Daniela Trevisan

When did you feel the vocation in acting? Was it a choice dictated by the case or passion?

Trevisan: When I was a little girl, I loved watching so many movies and my romantic nature led me to dream of becoming an actress. In fact, I remember that it was my favorite “game” to perform to my friends by reproducing some piece of movies that had remained imprinted to me. They looked at me, applauded me, and most of the time, asked me to repeat the part I had staged.

However, my primary school teacher, who was Sofia Loren's aunt, Giuseppina Scicolone, was decisive, because she was enlightened when she talked about her nephew, she constantly invited us to see her films. It was the time when Sofia was on the screen and it was so that in me she would take more and more strength the passion for acting

How decisive is your passion for making it a real profession?

Trevisan: The hope of being able to live the experience of the actress has never abandoned me, although she did the profession of teacher, of the Primary School, for 36 years.I cannot ask Life that this becomes a real profession, now as now. There are good actors everywhere, there are many who live the desire for film play.

But I can say that this desire I have always kept it and I have been committed for three years to improve my technical skills, in the hope that some directors will also notice me.

Are you more likely to interpret characters that recalculate your personality or different from your way of being?

Trevisan: Actually, I prefer to get away from the characters that recalculate my personality because I like to know unpublished parts of me this happens in the interpretation of other singularities. I especially like to overcome my flaws, my fears, my insecurities because I think that discovering yourself and your limits is an opportunity not to miss for our evolution.

Self-irony, which descends from it, is a strong contribution to the overcoming of obstacles, the crossing of shadows of light always delivers overwhelming emotions that paint our hearts.

When the director offers you a part in a movie, do you immediately accept a proposed script?

Trevisan: No, I feel the need to examine it according to what is my moral status. This does not mean that I judge the piece in itself or the whole script, but in me there is a need to understand how to stand in the entirely proposed plot, understand how to stay in details, to deliver desirable human behavior. I like to be able to talk to the director, when possible, to be able to exchange our own looks together in order to be able to deliver the best of me.

What is the figure of the actor for Daniela Trevisan?

Trevisan: The actor brings his life with him, but he must learn how to use his emotions as a tool that creates passion in overcoming any opposition within the script. This implies the intimate knowledge of oneself and knowing how to analyze the script so that the stage interpretation results in a real process of unconsciousness. The ability to use adversities to overcome them is particularly decisive, thus bringing intensity of interpretation.

The actor must be able to bring in stage feelings buttons.

Among all the characters you played in your career, What was the character you were tied to? What characterizes her?

Trevisan: In my life I have always tried to overcome the adversities and challenges that she has submitted to me. This has enriched me with will and self-control of the uncertainties that I have faced. In practice, triumphing over adversities meant for me to learn how to dance in a dynamic that opens to everything possible to the whole feasible. I learned that if I want something, I go and chase it, the closer I approach and the more I can keep my emotional and motivational levels high.

In conclusion, I am linked to all those characters who are moved by the discovery of how to overcome adversities with irony and willpower. I am linked to two wonderful actresses: Monica Vitti and Mariangela Melato for these temperamental colors

What do you think of today's cinema?

Trevisan: Today, cinema offers topical issues, brings solutions, compensation to human multidimensionalities, giving them a reality of dignity. Thanks to its critical and informative function, cinema transmits content and knowledge, offering a reconstitution of the psycho-social balance that is always needed and therefore creative recompositions rich in the cathartic profile. Many of the films, directed at this, were also presented at the 76th Venice International Film Festival.

When cinema shows various internal conflicts, challenges, traumas, desires, real feelings of individuals in various personal and contextual diversifications and knows how to transform or transfer them into something positive, it completely fulfills its task.

What were the models you were inspired to become an emerging actress?

Trevisan: The models to which I am inspired are essentially human ones, those in which fragility is the point of strength and in which the hope of passing the forado is strengthened more and more. I love human sensibility and all strategies to keep it together with humanity. So my artistic models are also aware of sensitive and respectful human persons of others singularity always in a state of mind of acceptance of the difference.

I really liked the film: “My name is Sam” starring actress Michelle Pfeiffer and Sean Penn, directed by Jessie Nelson who I have laboriously interpreted, visible in you tube, because emotionally strong piece, but that I consider valuable for sensitivity.

What is the soundtrack of your professional personal journey?

Trevisan: The column of the film: “Life is beautiful” because it is so... both for the content of the film and in life. Primo Levi, in his book: “If this is a man”, when he spoke from the concentration camp, said these words: ” I was thinking that out of life was beautiful and that he would continue to be beautiful. In this vision I recognize myself and I have also transferred it within my pedagogical novel: “The field of sunflowers” and.

Cleup, 2015, in which I communicate, among the many themes, also of the violence of man on man. Life is beautiful and precious and must be respected in and out of us, in all its powerful light.

Who would you like to thank for your professional personal journey? What will your future projects be?

Trevisan: I thank, first of all, my family who has always given me the opportunity to have the freedom of space for free intellectual and artistic movement.

In the second line I thank the various Master casting directors crossed until today that are many, but a casting director in particular: the director Alessandro Pondi, who I am very much instigated and also caught my healthy friendly feelings for his special sensitivity, for his ability to listen actively and value anyone who chooses the craft of the actor, as well as positively interpreting life and screening it with that lightness that connotes the Italian.

Finally, I thank my next teacher who followed me and follows me both individually and within the various progressive cinematographic courses: Vittorio Attene, a graduate of the Silvio d’Amico in Rome, director and theatrical screenwriter. He is the one who teaches me how to be in connection with the goals of the scene and to be altogether on the task in front of the room. The projects are always so many ahead of me, I follow them passionately until they are active there is Life smiling at me.

In this new academic year, which is about to begin with the month of October, I will conclude the second year of the Academy: “Profcession Artist” of Rome, a great professional showcase, and I will undertake a new experimentation: “L’Atelier”, in the Cultural Association: “Fantalica” of Padua, conducted by Vittorio Attene, protected to the realization of a short film. However, I thank everyone for the attention of the welcome about the individual specificities.