Eleonora Duse (1858-1924) is the "divine" by definition, subject of fanaticism, greeted with standing ovations everywhere, covered with tributes, pursued by charges of delirium.
" What is so unique and special? Not an amazing beauty and sensuality that makes a body or wild fantasy in itself. Rather, it is pale and skinny, his face devoid of makeup (not I never wore, nor the scene nor out) dug in features irregular and uncertain. And yet emanates a thrilling sense elsewhere. E 'soul reflected in the face, especially in the eyes huge, fishing areas in mysterious glow. Ed is a talented modern interpretation, not only because of the absence of rhetoric and the essence of the gesture, a feature unusual in an era of flashy and declamatory recitations, but in the ability of metamorphosis from time to time makes it wonderful or wicked, witty and sensual, decrepit or girl, cast as Ophelia and Desdemona as gentle or ferocious like a wild animal, as the chronicles tell of Zola's Therese Raquin his first great triumph in Naples.
'Being' the character: this was the Duse. Become not take the externality, but with re-creating the original poetic truth, according to a method similar to that of Stanislavsky and on a line to the future, the same that would have led to the Actor's Studio and at the top players in the American cinema of the last decades of the twentieth century. " Leonetta Bentley writes journalist in the daily La Repubblica (June 1, 2008), which presents a portrait of Duse highly concordant with the results from the analysis of handwriting, which is dominated by the sign Slender. So we are faced to intense and impetuous merger two sizes of heart and mind, combined with exceptional originality of expression (Uneven methodically, Angles A). The personality is also characterized by the ability to perform immediate analysis (Detached at times) and consequent rapid adjustments (Fast, Sleek, Sever), which allow for effective coordinated action to that of other actors present in the scene.
The complex of signs data to determine the suitability for all intense and active roles of expression, as well as stroncanti (hard to conceive, for example, passive female roles or sweet) in which the expression is enhanced by emotion and external security (Ricci subjectivism very marked).
The strong dynamism that characterizes it, marked by substantial simplification of the psychological issues represented, which suggests the impossibility of representing different roles to that core passion that belongs to his nature, is characteristic that belongs to the actors of modern cinema that needs to adapt quickly, impulsive, complex, and a remarkable indifference to the established forms of expression. Dated
, however, is the emphasis on the markup, which does not belong to the modern taste of the sentiments expressed in a lively but not too loaded with emotional and volitional.
