Lino Guanciale and “the satisfaction of us fragile fathers. I will tell my son that there are”

Successful actor in cinema, TV, theater. Bulimic player, writer, former rugby player. In this exclusive interview he talks to a writer friend, while the series in which he is the protagonist are restarting. And while Little Peter, one year old, sleeps in the next room

  guanciale-liuzzi-son-pietro-today-3 Lino Guanciale with his wife Antonella Liuzzi and their son Pietro Photo Video

It's about, he says, trying to live up to your dream. He wants to put together experiences that resemble him, to stitch together the pieces of a professional story that is also an artistic research. Lino Guanciale, 43, is as always busy on several fronts: the last chapter - the third - of the series La porta rossa on Rai 2; a new piece of the 'sentimental education' of Commissioner Ricciardi, in February on Rai 1. He prepares the return to the theater of European , the pièce of which he also directs (on tour and at the Piccolo in Milan in the spring) and follows the work on Ennio Flaiano, Nonwake the spectator, with which he shares Abruzzo roots. Meanwhile, he has become a father. He carves out the time for this conversation while Pietro, who has just turned one, sleeps - Photo | video

Lino Guanciale and Antonella Liuzzi, the never-before-seen wedding video: look, the dance is very romantic… Lino Guanciale and Antonella Liuzzi, the never-before-seen wedding video: look, the dance is very romantic…

What would he have done if he hadn't been an actor? 'Apart from the astronaut? My mother teacher saw me in a dream as a child neurologist: at a certain point I imagined myself in those shoes too. I have also always been attracted to teaching, to 'doing school'».

Lino Guanciale, a Prayer for the earthquake victims of L'Aquila in 2017 - video

How did acting come about? “Pure coincidence. I enrolled in a drama course in my best friend's high school. Due to a conflict with the principal, in my school I was forbidden the possibility».

Because? «I was a student representative and it was not uncommon for confrontations to arise. However, on stage I felt I could comfortably be myself.

Feeling like yourself in a mask? «Actually, my problem in my adolescence was precisely that of wearing a thousand masks. Too many. Pativo in not being able to understand what it was to be myself. And in the search for authentic contact with others, not even rugby was enough».

What does it mean? «That sport had arrived to reabsorb a “reality” deficit. Up to a point I immersed myself in books more than I immersed myself in relationships, in the world of my peers. And the stories I read responded to my hunger for contact. But maybe they weren't enough. Rugby is precisely a “contact” and team sport».

He also practiced it at competitive levels: he was in the national team from under 16 to under 19. And then? «It was a fundamental period, also by virtue of the acquaintance with very different peers from me: another social class, distant interests. I found them brothers, to quote Pasolini, despite the distances. He served me. But only by doing theater did I feel the fullness of the gesture I was looking for».

What do you think you sacrificed for acting? 'All and nothing. I took the entrance exam to Medicine, passing it, but I didn't register. I switched to Literature, making a pact with my parents, the first graduates of their respective families after generations: I'm going to university but in the meantime I'm trying to be an actor. I started with a company from my city, Avezzano. Energized by doubts, I put myself to the test: they were my 'spiritual exercises'. For a year I deprived myself of the theater, concentrating only on studying. It was to understand how much I missed acting ».

Did he drop out of university? «It was incompatible with admission to the Academy of Dramatic Art. But the university years were important. I am thinking of the meeting with Alberto Asor Rosa, the great scholar who passed away recently».

What teacher was he? «He taught off the cuff, starting from handwritten notes in very minute handwriting. He looked into our eyes, but it was hard to return his gaze. He sculpted the words with an admirable capacity for synthesis ».

He has had several special teachers: from Asor Rosa to Gigi Proietti. 'I've been lucky. Gigi Proietti taught me never to call the stage yourself. Marisa Fabbri, at the Academy, when asked which textbook we should study to become actors, she replied: Italian grammar. And again, I think of the poet Edoardo Sanguineti – the highly recognizable silhouette that I seemed to intuit one evening in the stalls. Almost a friendship was born. And then Franco Branciaroli, Luca Ronconi…».

Keep alternating between “complex” and “pop”. Is it a commute that weighs you down? «I belong to a generation of actors who no longer conceive fences between theatre, cinema, television. But for a long time, keeping everything together – TV work and theater research projects – forced me to an impossible pace. At the beginning, I used to reply to all the fans who wrote to me after discovering me on TV, to invite them to follow me to the theatre. Today I tell myself that no one can be forced to know everything that is done».

Do you ever feel hostage to the profession you have chosen? «In the path from the abstraction of the dream to the craft, there are many baths in concreteness. Sometimes tiring. With the consequent questions: what do I do next? Based on what do I choose? Can I take some time for myself? Am I really doing what I dreamed of doing?”

How do you answer? 'I'm lucky. 80 percent, yes. As for the time for me…».

It has also become the time of fatherhood. «I slowed down, necessarily. Also to enjoy this continuous spectacle, the wonderful satisfaction, for us fathers as fragile as we like, 'contemporaries', of participating in practical life'.

It is still early for Peter to ask «Dad, what is your job?». But what is the answer? “I've thought about it a lot. In the simplest way, which does not mean easy, I will tell him that I am someone who tries to make books talk».

The books are back. You recently wrote one, Ink, which came out last October. “Books always come back. I trusted an Italian teacher who told me: write well. My style model was Indro Montanelli. Making me look very badly from my classmates. Especially since I've always been on the left. But when Sanguineti said that the great conservators are masters of realism, he wasn't wrong. While the left has lost the vocation to talk to people. As they say in the theatre, you can't always blame the audience.'

What teacher would you like to be for your son? “I'd like to see him grow up with the ability to admire. Knowing how to admire someone, an attitude to which we are less and less willing, means going out of ourselves, being apprentices for life. Or rather: humble apprentices of life».

A matter of curiosity. «And amazement. Which is an art. I will try to tell him all this in words but above all with my example, because the meetings I have had have managed to keep my reserves of amazement alive. I will talk to Pietro about the famous teachers, but also about that rugby partner who encouraged me in the most important matches, with his Abruzzo accent, and repeated that simple and important phrase to me: 'I'm here'. I wish I could tell you too.'