Laura Caparrotti

Born in Rome, has a degree in Performing Arts from the University “La Sapienza” in Rome, Italy. She also studied independently with Dario Fo (Nobel Prize for Literature 1997), Annie Girardot and Elsa Wolliaston, among others. In Italy she performed for over ten years in theater, with Giancarlo Cobelli, Mario Carotenuto, The Teatro Stabile di Torino, and many others. In New York Laura performed at The Kitchen with the Japanese company OM2 and in The Cosmic Legends Series. She directed and performed the following K.I.T. productions: at The Kitchen and at The Fringe Festival 1998 Black Paintings – a multi-media performance; Necklaces at the Abrons Art Center; Cabaret s’IL vous plait! (Series of comic sketches from the 50s to the present) and Una conversazione continuamente interrotta (adaptation of some excerpts by Ennio Flaiano). She was the guest curator in April 1998 at The Kitchen, for the Hybrid No 16th “No Peace Without Justice”, the co-curator of “Fellini-Flaiano: a different take” at the Casa Italiana Zerilli-Marimo’ at NYU in February 2000, “Fellini and The Myth of I Vitelloni in Italian Cinema” in the States in the year 2003.

She is the curator of “Excerpts of a Prince named Totò”, a series of events – including an exhibition – on Toto’ touring worldwide. In television, she worked as a journalist as well as an actress. She’s the performing arts and arts correspondent for several publications (America Oggi-Oggi7, All about Jazz, Usitalia, Touch of chic, NY magazine Italia). She has developed a method called Theater&Italian for children and adults that she teaches in NY and in NJ as well as in Rome.

She works continuously as voice over talent and as monitor/consultant mostly for Italian language (National Commercials and Industrials).  She is often invited to give lectures on theater and cinema; she has been also the US correspondent of some Italian Film Festival. Ms Caparrotti was part of the jury at the 2000 and the 2001 Avignon/New York Film Festival in Avignon, France, from 2003 to 2006 of the Brooklyn International Film Festival, as well as she was served as panelist for the New York State Council of the Arts.

She has directed and performed in Tosca e le altre due by Franca Valeri, The Papaleo Case – il Caso Papaleo by Ennio Flaiano (the first of a series that KIT has been dedicated to Ennio Flaiano’s theatre), in A, B, C a one-woman-show written by herself. She has also directed Philosophically Speaking by Eduardo De Filippo at the Bernie West Theatre in Manhattan; she is also the curator of the on-going exhibition Italians of Montclair, based on an Oral History Project about the Italian Immigration in Montclair, NJ. In 2005 she has been the assistant to the director in the Off Broadway Eduardo De Filippo’s Souls of Naples featuring John Turturro.

Nowadays Ms. Caparrotti continues working and touring as representative of the de Curtis Family, as an actress, a voice over talent, a director, a Theater&Italian teacher, a lecturer, a consultant, doing all of that as President and Artistic Director of KIT -Kairos Italy Theater Inc with the ultimate goal of spreading the Italian Culture and to create an Italian Culture Network in order to maintain and grow the knowledge of Italy in the States, and vice versa. In 2008, Ms. Caparrotti has started KIT in the city, a bi-lingual online news-magazine dedicated to cultural and every-day events in New York and Rome. Laura is a Member of the Lincon Center Director’s Lab and a member of its international sub-group WorldWideLab. She was recently an artist in residence at The Watermill Performance Center in Long Island (fall residency program). Since 2011 she is also Associate Member of the Stage Directors and Choreographers Society.

93 Comments

  1. Mario González Says:


    Cara Laura:

    sono io, Mario dall’Argentina, grazie per il bollettino elettronico che mi fai giugere.Ti dico che dopo una ricerca accurata in Rete, ho trovato, l’anno scorso, tante compagnie e gruppi di teatro italiani nel Mondo,fuorid’Italia, ovviamente!.Di recente ne ho trovati in Australia e Canada.Ti invio collegamenti al riguardo.

    Distinti saluti
    Mario González
    Argentina

    February 11th, 2012 at 2:30 pm
  2. Mario González Says:


    ARGENTINA
    ———-
    COMPAGNIE E GRUPPI DI TEATRO ITALO-ARGENTINI
    Grupo Viento Italoargentino
    //grupovientoitaloargentino.blogspot.com
    -Opere in italiano e spagnolo
    ———————————
    Teatro in italiano
    //teatroinitaliano.blogspot.com
    ——————
    Compagnia El Templo
    //companiaeltemplo.blogspot.com
    Tandil(Buenos Aires)
    ———————
    CANADA
    ———-
    Bella Luna
    http://www.bellaluna.ca
    Vancouver, BC
    ——————–
    Theatre IV Mimmo
    //theatreivmimmo.wordpress.com
    Toronto, Ontario
    ——————–
    AUSTRALIA
    ————
    Italian Theatre Company of Western Australia
    http://www.italiantheatreo.org
    Perth, WA
    ———————
    The Italian Comedy Players
    http://www.theitaliancomedyplayers.com
    Melbourne,Vic
    ———————-
    Commedia Academy
    http://www.commediaacademy.com
    ———————
    Compagnia di Teatro Italiana
    http://www.francobaldi.com.au
    ———————–
    Compagnia Gli Emigrattori
    http://www.emigrattori.blogspot.com
    ———————–
    Emilia Pelosi
    wwwemiliapelosi.com
    ———————–

    February 11th, 2012 at 2:34 pm
  3. Mario González Says:


    ENGLAND
    Tricolore Theatre Company, Ltd.
    http://www.tricolore.org.uk
    London
    —————————-
    Italian Society
    http://www.italsoc.com
    St Andrews, Scozia
    —————————
    SPAGNA
    ———
    Gruppo di Teatro Italo-Argentino “Teatro di Commedia”
    //teatrodicommedia.blogspot.com
    http://www.facebook.com/commediadellarte
    ————————–

    February 11th, 2012 at 2:36 pm
  4. admin Says:


    Caro Mario, grazie! Dovremmo fondare un gruppo di compagnie di teatro italiano nel mondo! Che ne dici?

    February 11th, 2012 at 3:17 pm
  5. Roberto Says:


    Ciao Laura,
    sono romano come te, e come te faccio teatro in america. Sono il direttore artistico di AtticRep (atticrep.org) e sono il direttore del programma di teatro alla Trinity University qui a San Antonio nel texas. Mi farebbe piacere mettermi in contatto con te dal momento che mi piacerebbe conoscere altri italiani che fanno teatro in america, e anche per parlare, chissa’ non si sa mai.

    Fammi sapere se e’ possibile,
    Roberto

    March 28th, 2012 at 4:37 pm
  6. How Do You Deal With a Diva? Says:


    [...] Laura Caparrotti, New York; 'Black Paintings' (the Kitchen), 'Necklaces' (Abrons Arts Center), 'The Papaleo Case' (Theater for the New City), 'Timon of Athens' (Teatro Stabile, Turin, Italy); founding director of Kairos Italy TheaterIt really depends on what you mean by "diva." If someone's fame brings in an audience, I try to be very patient, knowing that he or she is not going to change for me. I tend to make a silent deal with the diva, suggesting, You let me work and I let you play diva—a bit!The real problems surface with the wannabe divas. These actors really get on my nerves. At first I try to remain calm, showing through my behavior that such attitudes are not welcomed. If they don't understand (and often they don't), I start to fight their childish attitudes. I've always thought that a director has to be a bit of a therapist in understanding the actors and the crew, but when the problems become too overwhelming, you have to be a strategist.The best trick is to let them know, never directly, that no one is indispensable. I had a medium-fame diva who kept me waiting, refusing to commit herself to whether she'd be in my show or not. She kept saying that she might have other commitments. Being very naive, I asked for her opinion in naming someone who could cover the role I thought she'd play. The more we talked about it, the more we name-dropped, the more serious her expression became. Not much time passed before she said, without looking at me, "You know, I think I may be able to move things around," and she did. The idea of someone replacing her was unbearable. By the way, she was great in the show!Actors should never fight a diva. It's a waste of energy. Deal with the director. If the diva has taken on the role of director, talk to her as if you are a friend and asking for her advice. And if the diva is a real diva, look at her carefully and learn her tricks.Mark Rosman, Los Angeles; the films 'A Cinderella Story' and 'The Perfect Man,' the TV series 'Ghost Whisperer'What's a director's most dreaded word in the English language? "Diva." When I'm directing, every morning I wake up wondering if I'm going to be able to complete that day of shooting. And that worry is there even when you know your actors are professional, prepared, and collaborative. But when you have a diva on your hands, that worry becomes agony.Luckily, I haven't run across many divas. But every now and again, I run into an actor who doesn't listen, acts like a spoiled child, throws tantrums, and makes my and everyone else's lives miserable. I believe this behavior usually comes from one place: fear.So how do I deal with divas? I try to figure out what they're afraid of. If it's about a challenging role, I talk with them about the character and what in the actor's personality he or she can pull from it that relates to the character. If it's about their career, I talk to them about why I cast them, why I love who they are as an actor, and how this role is going to be important for their career. If it's resistance to going to an emotionally scary place, I reassure them that I am not there to judge them but to catch them if they fall and to guide them.Occasionally, it's not about fear. The actor might be having a bad day, or they've just reached an angry stage in their life. If nothing I do gets through to them, I will shoot the scene without their close-ups or, God forbid, without them at all. Nothing gets through to an incorrigible actor like telling them they're not needed for the scene.If you're a diva, just know that most of the time the director is there to make you look good. If you look good, their movie is going to look good. Talk to your director, and be up front about what's bothering you. Give the director time to figure out a solution. Because if you don't, he'll shoot the scene without you.Ken Feinberg, Atlanta; the films 'Foreign Exchange' and '3½'If you find yourself on a set with a diva who has all the power, this is my advice: Talk to them in a pleasing tone of voice. Listen to their demands. See if they'll play the "what if" game with you, as in "What if we tried it this way?" Or "What if that couldn't happen like that? What do you think if we tried it this way?"Divas always like to feel they are the one who matters. So as a director, you have to allow them to think that. Otherwise, you won't be making the movie you want.If, however, a diva is too demanding to work with, your last course of action is to bow out of the project. There is no shame in saying to the producer, "Thank you for the opportunity. I wish you luck with this project."If you are an actor and find yourself on set with a diva, don't stand for it. Do not let yourself be intimidated. Do not let them bully you. You are a professional actor, not a doormat. Behave professionally and create that reputation with your producers and directors. They will thank you for it.Norith Soth, Los Angeles; the films 'Metamorphosis: Beyond the Screen Door' and 'The Sibling'Since the first film I directed, "Metamorphosis," I have rarely dealt with divas. I was 19 and naive, so I prepared heavily, storyboarding several times, editing the movie in my mind. The end result was different from what I imagined, but my preparation protected me from the diva. It made me look like I knew what I was doing, and divas can spring up like weeds, especially if they don't have confidence in the director's knowledge and skill. So homework and decision making is your shield—as well as your duty. People will rarely mess with a director on a mission.However, producers can also be divas. I recently dealt with one such. We were on the last shoot of a 16-hour day and disagreed about how to approach a scene. The producer, who also happened to be an actor in the film, did not like my approach. I did not like hers. I could have screamed and torn the set apart, but instead I suggested we do one of her version and then one of mine. She could not say no to that. The result? We took the film in a different direction and used neither version. The film, in the end, is controlled in the editing room. Just make sure the divas don't show up there.Troy Kotsur, Los Angeles; the films 'Deaf Ghost,' 'Ray's Potions,' and 'Got Matches'How I handle a diva would depend on the situation and the demands they were making. A director has to be somewhat of a psychologist. I have worked with many passionate people who try to make their strong feelings understood, and it's important to try to understand where they're coming from and let them know their feelings are being acknowledged and respected. After listening to the diva, ultimately my decisions come down to discerning what's best for the story. Keeping the focus on the story can diffuse diva energy that could otherwise suck the life out of everyone's spirit.Communication skills are so crucial. A great director is one who can communicate effectively and thereby lead. I have high expectations that every cast and crew member operate professionally. If someone is particularly demanding, it impacts everyone's experience, and it's my job to pick up on that before hiring that person.I've heard of directors firing a diva on the set. I would try to proactively avoid any such situation coming up in the first place. If it did arise, I would make every attempt at diplomacy without further enabling the person's bad behavior.As an actor in the past, I dealt with a few divas, and although 98 percent of the time I was able to smooth over rough patches, only once in my acting career did I actually have to walk off the set to "breathe" for a minute. On another occasion, I recall how a director handled a diva without pointing a finger at the offender. The director made a general comment about her "disappointment." I admired the director's subtle pressure on the actor to remain accountable to the group and not demand special treatment. It worked. The diva got the point, and her bad behavior did not happen again. [...]

    August 15th, 2012 at 2:36 pm
  7. Intervista a Laura Caparrotti, Attrice e Direttore Artistico | Farespettacolo Says:


    [...] Professione: Attrice, Direttore Artistico Città: New York Web: inscenany.com Web: kitheater.com [...]

    November 10th, 2013 at 9:11 pm
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    August 24th, 2014 at 4:31 am
  88. jim Says:


    gossiped@petals.counting” rel=”nofollow”>.…

    tnx for info….

    August 24th, 2014 at 6:04 am
  89. jeffery Says:


    marginally@shied.unready” rel=”nofollow”>.…

    благодарю!…

    August 24th, 2014 at 6:32 am
  90. frank Says:


    supervened@helpfulness.pavlovsky” rel=”nofollow”>.…

    спасибо за инфу!…

    August 25th, 2014 at 10:26 pm
  91. Hector Says:


    sick@aroused.kimbolton” rel=”nofollow”>.…

    thanks!…

    August 26th, 2014 at 12:15 am
  92. Brandon Says:


    matching@buoyed.receives” rel=”nofollow”>.…

    tnx for info!…

    August 26th, 2014 at 6:36 am
  93. Andre Says:


    vendome@unwired.fruitfulness” rel=”nofollow”>.…

    спс….

    August 26th, 2014 at 8:35 am

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