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Ronconi was born in Sousse, Tunisia. After growing up in Tunisia, where his mother was a school teacher, Ronconi graduated from the Academy of Dramatic Art in Rome in 1953. [1] He acted in productions of Luigi Squarzina, Orazio Costa, Michelangelo Antonioni, and others. In 1963, he directed his first play, La buona moglie, and from then on ...
Luca Ronconi si diploma al corso di recitazione dell' Accademia nazionale d'arte drammatica di Roma nel 1953. [1] Esordisce subito dopo come attore in Tre quarti di luna di Luigi Squarzina, diretto dallo stesso Squarzina e da Vittorio Gassman, e in seguito recita con altri registi come Orazio Costa, Giorgio De Lullo e Michelangelo Antonioni.
Luca Ronconi was born on 8 March 1933 in Susa, Tunisia. He was an actor and director, known for Orlando furioso (1974) , L'uomo che ride (1966) and Bettina (1976) . He died on 21 February 2015 in Milan, Lombardy, Italy.
- Additional Crew, Actor, Director
- March 8, 1933
- Luca Ronconi
- February 21, 2015
Scopri la vita e le opere di Luca Ronconi, uno dei più influenti e innovativi registi teatrali italiani. Consulta la sua biografia, i suoi progetti, le sue pubblicazioni, le sue mostre e i suoi premi.
Luca Ronconi was born on the 8th of March 1933 in Susa (Tunisia). He graduated from the Accademia d’Arte Drammatica (Academy of Dramatic Art) in Rome in 1953 and worked as an actor with leading roles in shows by directors such as Luigi Squarzina, Orazio Costa and Michelangelo Antonioni.
Luca Ronconi debuts at La Scala theatre in 1974 and scandal it was: his Valchiria, transposed in the mythology of the middle class family of the eight hundredth forerunning the similar action of Chéreau in Bayreuth , shocks the audience and the conductor himself Wolfgang Sawallisch: more turmoil is met by his Don Carlo deprived of its usual lavish pageantry and loaded with symbols of doom and gloom, being attuned with the musical research that Abbado was carrying on.
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Dec 7, 2021 · In 1966, the Italian critics labeled Luca Ronconi a “producer of madness,” not only for the themes he chose but for the frenzied characterization typical of the acting. Later, after Orlando Furioso (1969), [see T47], they saw him as a conjurer of extraordinary medieval festivals, through a play of simultaneous scenes that bordered on the ...
