For some years there has been a rose dedicated to Mariangela Melato. She’s gorgeous. What’s more, it’s gorgeous. Its creators are Rose Barni of Pistoia who presented this graceful flower recognizing a special character, similar to the «strong and self-confident personality of the actress whose name it bears». Completing the description of the plant’s qualities, they then underlined: «The double and large flowers open with a fascinating ancient shape, showing the purity of a pure white. The extraordinary perfume catches the attention, like the many interpretations on stage by Mariangela Melato ».
The memory of Mariangela Melato today poetically blends with the image of this rose. And it brings to mind her talent as an authentic actress who knew how to reflect with particular acuity, recognizing in the difficult profession of the theater, together with the complex angles, the traps and wonders of what is only apparently simple. For her, meticulous diligence was never separated from a mysterious underground astonishment at the miracle of being on stage night after night in the shoes of another. An enigma that was firmly rooted in his natural insight and in-depth expertise. Both gave her full possession of the art and the very personal way of conceiving and realizing the many spells of the stage.
Mariangela Melato often and with admirable clarity expressed her own opinions about acting which, thanks to her personal commitment, she knew in depth. In his analyzes he was able to speak with confidence. He questioned the theatrical act, exploring it far and wide, from one register to another, from one color to another, capturing its varied itinerary of sounds and tones. But that is not all. The capacity for non-superficial considerations in fact allowed this highly skilled actress to constructively focus attention also on the very objective of the Theater of creating the true from the false and vice versa.
In 1988, prompted by some questions that were posed to her for an initiative that aimed to trace the identikit of the Italian actor, Mariangela Melato presented some of her reflections on the subject. Among other things, she said she was pleased that the role of the actor was again central to the reasoning on the Theater. He commented: “Thank God. I think that’s right, because the actor is the real channel for the audience. The public focuses its attention on the actor probably because he is looking for a message in “flesh and blood”, and this physical presence marks the difference with cinema and television and is, at the same time, the strength of the theater ». He added that he did not believe that being an actor necessarily responded to an innate propensity. He was of the opinion, however, that it is often singular qualities that distinguish the actor. «The actors I like are first of all special people. I don’t think we are born actors, but more sensitive people, more attentive to the world around us ».
The actor’s apprenticeship. Whether the experience gained in a school is sufficient or whether the authentic imprint comes from the experience on stage is a frequent question that requires an answer. On the question Mariangela Melato had no uncertainties: “School is important to get used to studying as a working method, but certainly direct experience is what is needed most”. Without calming down in the face of the goals achieved. Instead, trying to overcome them and overcome them. To reach heights that are never last, even “a place to experiment, perhaps during a break period, even roles that will never be played, just to test oneself and improve oneself, may be needed. I think this would be extremely stimulating for our profession ».
An actor must bring to his role not only the cultivated capacity of knowing how to dose, but also a strong personality that is really able to assert himself. A principle that Mariangela Melato strongly supported. He affirmed: «It is preferable to have culture and intelligence, even if culture alone is not enough, just as talent alone is not enough. The ideal would be the balance between the two aspects in a vision of personal reality. I like actors with their own particular vision of reality ». As if to say that an actor, from head to toe, is thrown into the arena in front of the spectators. He makes use of himself because «in acting it is above all the physicality that comes into play. It is fundamental “how” one is on stage or in front of the camera and, when building the character, one builds his gestures, his movements, a way of walking, and so on. Thus the so-called “charisma” of an actor is played on his physicality, on a way of entering or being on the stage that makes one immediately looked at, and another even ignored ».
Self-control and free flow of emotions must travel together, paired in “an absolute blend of the two, always”. In fact, there are many and different ways of approaching the character to be interpreted. “I don’t think it’s possible to separate just one of these modes because they all have to mix in almost equal proportions.” With rigor masked by irony, Mariangela Melato’s observation therefore focused on the important relationship between actor and director. “The ideal relationship is one of collaboration and mutual esteem and the need to discuss irrepressible … even to the point of a fight, if there is no way to avoid it”. But not only. The theater, which should not be underestimated, essentially remains a mechanism of balances even in the internal dynamics of a company. «For the success of the show it is necessary to mediate, in favor of the collective dimension and, if there are disparities, make them less noticeable. To some extent it is natural that there are certain differences; if you are the lead actor, this means the recognition of a certain level of professional quality. I always try to work with good colleagues, precisely because the general tone affects the individual one, and when I happened to work with bad actors, I wasn’t good either ».
Regarding the role of the actor in society, Mariangela Melato’s approach was very concrete. «Whoever values me, esteems me as a person, not as an actress. I don’t think people distinguish a social role of the actor, not even the famous one, where other mechanisms may perhaps take over. We look at behaviors, choices, but these concern the person, not the role of the actor ». It is in doing serious, responsible, limpid theater that the civil function of an interpreter is condensed. «By making non-reductive choices, it is possible to carry out a function, albeit not very important, to improve the state of things on the basis of one’s own personal creed. The public feels coherence, basic cleanliness, and this is more important than direct messages, than being the spokesperson for this or that political party. The constant tension to improve also improves everything around us ». At this point, when asked what the relationship between the actor and political power should be, Mariangela Melato promptly replied: “If we talk about free creativity, absolutely nothing”.
Mariangela Melato totally rejected any possible tendency towards self-referentiality in the actor’s work. “If that were the case, I’d change jobs. I believe there is a mysterious but tangible dialogue with the public. Beyond the applause or whistles, an actor feels how what he is doing is received. Even silence can have many different meanings, it is itself already a dialogue, and of the best, almost a dialogue of love ». Entertainment for entertainment did not interest her. “If it was just about entertaining the audience, I wouldn’t do it. I like to believe – maybe it will be a form of old-fashioned idealism – that my work serves to make people think, to open new perspectives on things. I believe that especially successful actors should strive to improve the theater through the choices they make. You cannot delegate everything to others and then complain. We must act ».