Carmelo Bene
Actor/Actriz
41
Películas
0
Series
The filmmaking career of Carmelo Bene (1937 - 2002) lasted from 1968 to 1973, six years out of a lengthy time spent in the theater that made Bene one of the most celebrated figures of the Italian avant-garde in the second half of the 20th century.
Bene first made a name for himself with a controversial production of Camus’ Caligula in Rome in 1959. Subsequent productions retained this sense of notoriety, and Bene (like Pasolini) quickly acquired a police record. Bene, however, would come to bemoan the controversy his work created, because it attracted an audience looking for shocks and titillation, while he himself was more concerned with reinventing the vocabulary of the theater: sets, gestures, texts.
Bene’s turn to cinema expanded that quest to reinvent. His films resist synopsis because, although they are often derived from narrative sources, Bene uses these sources against themselves and as a springboard for his critique of the stultifying traps of representation and interpretation. The films are wildly inventive and visually arresting on several levels: the performance styles of his actors, including eccentric movements, gestures and grimaces; the sets, costumes and makeup; the editing; and the use of the camera, with stable shots regularly punctuated by handheld camera work, extreme close ups and the occasional baroque use of zooms, dollies, cranes, elaborate pans and exaggerated camera angles. They resemble something like the work of Jack Smith crossed with the experimental Pasolini of Teorema and Pigsty.
One constant feature of Bene’s work is its satire of heterosexuality. The two sexes keep trying to communicate with each other, but always fail to do so. Bene’s work constantly deflates masculinist pretenses at mastery: his male characters tend to be hapless and often hysterical, while his female characters are alternately predatory and remote, and unknowable in either case. But this satire is merely the most visible form of Bene’s revolt against convention and communication. Over and over again in the films, everyday actions become hopelessly complicated or endlessly interrupted. His characters often end up staring quizzically offscreen or even into mirrors, as if they were no more sure than we are of the meaning of what they see. Indeed, identity and by extension agency seem to get suspended, along with meaning. What is left is glorious spectacle and enigmas for the eyes and ears: endless music; babbling, stuttering text; excessive and exciting images. – David Pendleton
Como Actor/Actriz
Edipo Rey
Creon
Colpo rovente
Billy Desco
Necropolis
Man with leather jacket
Un Amleto di meno
Hamlet
Tre nel mille
Pannocchia
Salomé
Erode Antipa / Onorio
Amleto di Carmelo Bene (da Shakespeare a Laforgue)
Amleto
Hermitage
The Man
Umano Non Umano
Self
Nostra signora dei turchi
The Protagonist
Capricci
Poet
Necro not(to b)e
Sé stesso
Riccardo III
Riccardo III
Ventriloquio
Jean des Esseintes
Manfred, versione per concerto in forma di oratorio
Claro
Bene! Quattro diversi modi di morire in versi: Majakovskij-Blok-Esènin-Pasternak
Lo scatenato
Prete
Bis
Cos'è il teatro?!
Himself
L'Adelchi di Alessandro Manzoni in forma di concerto
La poesia dimenticata
Otello o la deficienza della donna
Don Giovanni
Don Giovanni
Carmelo Bene: Uno contro tutti
Tracce di Bene
Self
BENE! Vita di Carmelo, la macchina attoriale
In-vulnerabilità d'Achille (tra Sciro e Ilio)
Ai Rotoli
Self
Pinocchio, ovvero lo spettacolo della Provvidenza
Pinocchio / Geppetto / Mastro Ciliegia / Grillo Parlante / Mangiafuoco / Volpe / Lucignolo
Detrás de Cámaras
Un Amleto di meno
Director, Escritor, Dir. de Arte, Diseño de Vestuario, Music Coordinator
Salomé
Director, Escritor, Productor
Amleto di Carmelo Bene (da Shakespeare a Laforgue)
Guionista, Director, Productor, Dir. de Arte, Diseño de Vestuario
Hermitage
Director, Escritor, Novela
Nostra signora dei turchi
Director, Novela, Escritor, Productor, Diseño de Producción, Diseño de Vestuario
Capricci
Director, Escritor, Productor
Riccardo III
Director, Adaptation
Ventriloquio
Director, Adaptation
Manfred, versione per concerto in forma di oratorio
Director, Escritor
Bene! Quattro diversi modi di morire in versi: Majakovskij-Blok-Esènin-Pasternak
Director, Adaptation
Cos'è il teatro?!
Director
L'Adelchi di Alessandro Manzoni in forma di concerto
Director
La poesia dimenticata
Director
Otello o la deficienza della donna
Director
Don Giovanni
Director, Productor, Escritor, Music Coordinator, Guionista
In-vulnerabilità d'Achille (tra Sciro e Ilio)
Director, Adaptation, Dir. de Arte, Diseño de Vestuario
Pinocchio, ovvero lo spettacolo della Provvidenza
Director, Productor, Dir. de Arte, Makeup Designer, Diseño de Vestuario, Escritor
Quattro momenti su tutto il nulla
Director
Lorenzaccio, al di là di de Musset e Benedetto Varchi
Director
Voce dei Canti
Director
Il barocco leccese
Director
Macbeth Horror Suite
Director, Escritor
Hommelette for Hamlet, operetta inqualificabile (da J. Laforgue)
Director, Escritor, Productor
Canti Orfici
Director