What is the comedy for Enrico Brignano, what kind of humor he prefers and how did he model it in his own image and likeness? He told us about it during an interview conducted at the 2nd Filming Italy Sardinia Festival, where the Roman actor received an important recognition.
by Francesco Del Grosso
«I like the noble comedy made by funny people who don’t have to be funny, but who become nice just hearing them talk. It’s a natural gift. I think of Massimo Troisi who was capable of fantastic speculations. His humor was never winked at vulgarity, the same that now goes out of fashion and bores me a lot».
It’s with these words, collected during an interview granted to us in the Sardinian kermesse of Tiziana Rocca, that Enrico Brignano immediately made clear his idea of comedy that goes hand in hand with the modus operandi he has chosen to pursue. Born in 1966 in Rome, he trained in the stage exercises laboratory directed by Gigi Proietti and, after 10 years on the stage next to him, he continued his career independently, obtaining a series of consents with his one man shows around the Italy. From that school he declared that he took nothing in particular, but surely the generosity, useful for the continuation of the artistic journey: «About Proietti I envied the generosity with which he faced the stage and I think I perceived over time and right way this lesson, making it my own in the art imprinting phase. This leads me to think that when I go on stage, wherever it is, I always have to give my best, more than many other competitors. It’s no coincidence, in fact, that my shows never last under two and a half hours. In this sense, I conceive them as events and not as simple evenings, especially in a period of recession like this where the spectator has to decide whether or not to pay the price of a ticket».
The same approach is found in the rest of his multi-faceted experience in the entertainment world. Beside the theatrical activity, that sees him every year on the stage with a different title (among others we remember “Rugantino” and the most recent “Innamorato perso”), there is also the television as the protagonist of successful fiction (from “Il Maresciallo Rocca” to “Un medico in famiglia”, passing through “Fratelli detective”) and host of entertainment programs (“Il meglio d’Italia”), as well as the cinematographic one (from “La Bomba” to “Ex-amici come prima”, passing through “Ci vediamo domani” and “Stai lontana da me”) and as a voice actor (his own is the voice of Olaf, the snowman of the Disney movie “Frozen”). But his preference goes: «to the theater of course, it remains the pivot around my career rotates, while the cinema is a parenthesis that I would like to investigate more and where I would like to show that I know how to do something else, first and foremost acting. There is a prejudice in this regard, I took part in about twenty films and the last one, “Tutta un’altra vita” by Alessandro Pondi, will be released on September 12th. Television at the moment is less interesting to me because it’s going through a phase of great crisis: the fact that talk shows or pseudo-reality TV shows regularly win the list of ratings should make people think and worry me a lot. So the small screen today is a really difficult and dangerous means for those who want to make their way and invest in tomorrow. They go ahead emeritus strangers who make lightning careers and then end up with as much speed into oblivion».
Over the years, on the other hand, the actor has built his credibility piece by piece and has seen the popularity increase, coming to compare himself with good results even with the writing of books inspired by his shows and his life, the last “Nessun dorma (tranne lei)” narrates with the usual light-hearted way that characterizes the recent paternity. A pungent humor that has become his trademark, as well as a sharp blade with which to pronounce on delicate and uncomfortable themes: «the only “coin” made available by my experience is that of irony and through it I can ferry important topics. Otherwise you risk being unpleasant to someone just because you say things seriously. Instead if you use the language of irony you are even stronger, but you have to be able to use it, not to get caught up in the impetus, find the most incisive phrase and hit where it should be hit, as Cyrano de Bergerac did».
For Brignano, comedy is therefore a serious matter and must be done with extreme intelligence, in many cases saving, especially in dark periods. History has shown it to us countless times and the Roman actor in closing has kept us reiterated: «if a country is in crisis, there is a need for comicality and it’s easy to do it. The most prolific moments have always been those of the war. If one thinks of the great world conflicts, despite the presence of censorship, there have been unforgettable masks such as that of Totò. This is to say that in the most complex and difficult phases of history and in the most recent years, including those we are experiencing, comedy has never died but has turned into a lifeboat to cling to». And how to blame him!
Credits Press Office Filming Itay Sardegna Festival: ManzoPiccirillo