Vittoria’s first time
Vittoria Puccini January 20 to 25 at the Teatro della Pergola in Florence
Born in Florence, the daughter of a university professor and a teacher and the niece of famous Giodo Morozzi, one of the fathers of the cultural history of Florence during the postwar period, Vittoria Puccini graduated at the ‘classical’ highschool (Liceo Classico) with flying colors. She seemed to be destined to a Bachelor’s degree in law in the shade of the Brunelleschi’s Dome, but before she enrolled in the university, Vittoria went to Milan to visit some friends. She participated for fun in a casting call for a role in a film by Sergio Rubini..and everything changed. She played Gaia in Tutto l’amore che c’è by Sergio Rubini and then Elisa in the TV-series Elisa di Rivombrosa directed by Cinzia TH Torrini, before starring in movies by Gabriele Muccino, Lizzani, Pupi Avati, Ozpetek and Paolo Genovese a few years later.
After fifteen years of successful experience as actress and an important relationship with actor Alessandro Preziosi, Victoria has now two new challenges to face: a fictional series, directed by Marco Turco, dedicated to Oriana Fallaci that will be broadcasted on Rai Uno next February, and the debut in theatre, in national premier at the Pergola Theatre from the 20th to the 25th of January, playing Maggie in Tennessee William’s immortal play Cat On A Hot Tin Roof, with Vinicio Marchioni, who played Freddo in the Stefano Sollima’s TV series Romanzo Criminale, directed by Arturo Cirillo.
A debut in theatre with such an important role is not something that happens quite often..
I would rather start from the beginning, my debut in theatre: it took me two years to decide to do it. I was blocked by a sort of reverential fear I have always had for theatre, I was afraid of doing something I hadn’t ever done, of the steady face-to-face contact with an audience that would have changed every evening.
So you never know, yet there is has something magical about this, because the energy the audience gives you will make you always change your contact with the audience.
And then what happened?
This year something was in me that made me accept the offer by Marco Balsamo, the producer of this representation. I felt as maybe the moment had come for my artistic and professional development to face this challenge. And after the long time spent to prepare the performance, after the rehearsals with the other actors and the close work with the stage director, I realized that this was just what I needed.
What are the marked differences you have experienced between cinema and theatre?
Undoubtedly the preparation times. Theatre productions require longer preparation times, while movie actors often rehearse directly on the set. Theatre is characterized by a great work of study, research and in-depth analysis. Before the rehearsals, there is that important and comforting definition of the action at the table, when you take your time to explore the deepest emotions of your character and to have a long discussion with the stage director.
And how would you define your movie on Oriana Fallaci?
A very beautiful experience in terms of research and preparation related to the character of this strong and courageous woman but also in terms of the historical context she has actively influenced, an experience that has enriched my life, a strenuous yet gratifying experience.
Florence is the first thing we immediately notice you and Oriana Fallaci have in common. What kind of relationship do you have now with this city?
Even though I have been living in Rome for many years, my family lives here, as well as my best friends. Florence is the warm place where my heart resides. When I come back home to my parents, who live on the hills just outside Florence in the Chianti region towards Siena, my heart opens in total love. Here I can release stress as in no other place on earth.
What place in the city centre makes you feel more at ease?
The ramps on Piazzale Michelangelo. The square is very wide, so you can enjoy one of the most panoramic views of Florence from there, yet the eye is deceived by the perspective, and you feel you could stretch out your hand and touch the Dome or the Giotto’s Bell Tower, and dip your fingers in the Arno river, even if it flows at a much lower level.