Elisa de Oceano, from the set with Luca Argentero to the stage with a unique work

Elisa D’Osanio She is one of the most famous Italian actresses. We recently saw her on TV in Document – in your hands where she plays the role of Teresa Maraldi, who is busy today with a very special theater project, 1223 Last Stop Slaughterhouse, which has a national preview on April 22 and 23 in the Carrozzerie and not in Rome. Along with her is an astrophysicist and songwriter Emiliano Merlinin art unòrsominòre.

It’s a straightforward and accurate journey into the darkest secrets of the intensive livestock industry. A system that makes a profit from animal carcasses, without names but marked with an identification number. Unidentified numbers, numbers used to calculate the profit margin obtained from their exploitation.

Elisa D’Osanio Tell us about the commitment to make it happen 1223 Last Stop Slaughterhouse And the important awareness message he wants to send to this project. But also about what it was like to work on a set Document – in your hands With Matilda Giuli and Luca Argentero, waiting to be seen in two new films, however, they remain very secretive.

How did the idea for your latest theatrical project come about: 1223 Last Stop Slaughterhouse?
Several years ago, I was very sensitive to the issue of animal rights, particularly the intensive livestock industry. I watched a Joaquin Phoenix documentary called Dominion And my life changed forever. It’s almost as if I’ve opened my eyes to a topic I didn’t know in the sense that it’s very interesting to understand how mass consumers completely detach from the reality of farm animals i.e. their path to becoming producers. Since I am in constant contact with this problem, for the sake of my sympathy speech because I recognize the right to life for all creatures and above all the right not to suffer, I have decided to devote a part of my artistic and human life to raising awareness about this issue, trying to connect people. And since I’m an actress, the best way to do this is to use technical language. So I decided to build a show.

A show that uses not one but several technical language: Can you explain how it happens?
We use not only prose, but also plastic artist, music with songs on a theme written and written live by unòrsominòre, my songwriter and collaborator. I also use language very close to theatrical conference, and publish scientific data and concepts, but always in an exciting and poignant way. Then I wrote a monologue that tells the highly sensitive love story of a cow bull and a dairy cow who find themselves united on a journey of death that leads them to the slaughterhouse on an intense farm. I will try through this poetic language, almost infantile, close to the primitive feeling of animals, to arouse the attention of the viewer and make him sensitive to the fact that animals are conscious beings, that is, they do not speak like us but feel, perceive the emotions and the world around them. To them, just like us. And then there will also be a physical performance of telling the alienation of the workers who work in the slaughterhouse, because this is also an important matter to be investigated. In fact, let’s try to imagine a human being working in such a place, usually non-EU nationals or people who have had problems with justice, usually the last to find themselves doing work every day there is a connection with the violent death he perpetrated These are against innocent creatures. So on a psychological level, there’s a whole world opening up.
In this work, I have included different types of languages ​​to make the message more direct.

Is there awareness in Italy of animal rights or not?
Definitely. We are in a time of great change and greater awareness than has been the case in years, and this has been made possible thanks to the work of many associations that have conducted clandestine investigations into these facts. Sensitivity to this issue has certainly increased, and in fact it is no coincidence that many people begin to prefer a vegetarian diet or in any case reduce meat consumption. But there is still much to be done, and in my opinion we must insist on starting from schools and young people who are very interested in the subject.

Your show in Rome is organized with two dates, but then will you take it all over Italy?
certainly. The dates April 22-23 in Rome are a preview of the project’s testing, and it will also be important for us to understand whether it works and where it will ultimately be necessary to adjust the shot. Then we plan to display it all over Italy.

Elisa de Osaño Emiliano Merlin unòrsomin

Elisa de Osagno and Emiliano Merlin, also known as Unòrsominòre

On TV we saw you in Ray’s Fantasy 1, Document – in your hands: Can you tell us about this experience?
Document – in your hands It was a really basic experience. In my career as an artist, it has given me a very important insight and potential to grow and reach the general public. It brings me a lot and I hope we can move forward with Season 3. For me it was also a wonderful human experience, because I had the opportunity to work with a wonderful team, both visible and invisible.

Did you feel very comfortable working with Luca Argentero and Matilda Giuli?
Mathilde also became friends because we made a movie together a few years ago, Okay by Francesco Marioni, and in document We have strengthened this friendship. Matilde is a very real person, she is a volcano of energy and she is a very sensitive girl. I love him. Luca is the perfect helmsman, because he’s really what you see him. He is a good person, polite, polite, he is always one step behind, never imposing his person, he is very keen on teamwork. So when the helmsman is so beautiful, inside and out, the ship can only travel calmly.

I recently worked on the series devotionHow did you find yourself there?
There too, very well, because there is a real Lucrezia Guidon from Abruzzo like me. We’ve known each other before, we have a theatrical journey behind us, we have a lot of appreciation and we love each other very much. At Fidelity, I basically interacted with her, so there was perfect synergy. I also got along very well with the directors, Stefano Cibani and Andrea Molayoli, who are great professionals.

Do you have any anticipation for your future projects?
I was going to have it but it’s so modern… I can reveal I’m about to head back to the filming set for the cinema, but I can’t say more than that the trend is signed by a woman. There are two films in the pipeline.

Have you always wanted to be an actress?
I didn’t even ask myself what the problem was, because I was born in an artistic womb because my mom was a choreographer and dance theater teacher. That’s how my world has been since I was in her womb, and so I didn’t know anything else. Then he advised me to attend Silvio D’Amico Academy, I was a crazy horse, I was so full of energy that I needed to impart. But everything was normal, and I had no alternative.

Do you have a favorite actor or actress?
I have so much that I always freeze a little at this question. I have references ranging from the past, like Anna Magnani, to both more contemporary. So I don’t have a specific reference. I am a very curious person, so wherever there is talent, I remain enchanted. So I can give you many names, like Olivia Colman, Judi Dench, and Joaquin Phoenix.

I ask you a similar question: Do you have a favorite movie that you always see again?
Here an infinite state opens. If we stay on the contemporary side, I’m a huge fan of Quentin Tarantino and as soon as I can review his films.

Elisa D'Osanio

Elisa D’Osanio


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