Alessandro haber: A lifetime on Stage, From Self-Sabotage to Italian Icon
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A monument of Italian cinema and theater, Alessandro Haber, is currently undertaking a self-tribute, offering audiences a glimpse into a career spanning sixty years of expressive performance. The actor, known for his captivating stage presence and willingness to embrace complex characters, recently shared intimate reflections on his craft, his collaborators, and his enduring passion for the performing arts.
The Art of ‘Playing,’ Not ‘Acting’
Haber distinguishes between “acting” and “playing,” favoring the latter as suggested by Anglo-Saxon traditions. He believes sensitivity is the crucial element, far outweighing formal culture in an actor’s toolkit. He describes the work itself as something beyond definition, even a “drug,” requiring a unique understanding. According to Haber, the true challenge lies in relinquishing the role and returning to oneself after fully inhabiting a character – “It’s getting back to myself at the end that’s the hardest part.”
This introspective approach is punctuated by a characteristic blend of melancholy and humor,frequently enough delivered with a touch of profanity. A especially memorable anecdote recounts a disastrous early performance in Tel Aviv, where a stage mishap led to an embarrassing incident involving the school principal, solidifying his lifelong commitment to the stage.
A Legacy of Collaboration and Refusal
The current performance is framed around the premise of the artist’s final day on earth, providing a narrative throughline for recollections of important collaborations.Haber fondly remembers working alongside luminaries such as Carmelo Bene, Michele Placido, Francesco De Gregori, Marco Bellocchio, Trintignant, Pupi Avati, and De Sica.
Interestingly, he reveals a past refusal to accept a role in De Sica’s The Garden of the Finzi-Continis, a decision he now playfully laments – “Think, The Garden of the Finzi Contini!” – ultimately finding compensation in a comedic role alongside his son, to the delight of the audience.
Between Script and Spontaneity
The performance is described as a “potpourri,” a term Haber frequently employs to navigate the unspoken and the complex. It exists in a delicate balance between seriousness, cynicism, and awareness, aiming to capture the essence of Haber’s expression without constraint. His famed outbursts of anger, while still present, are reportedly less anguished, a deliberate choice to avoid overly analytical scrutiny.
Haber’s passion for the theatre is evident, contrasting sharply with his more distant relationship with cinema.He emphasizes the control afforded by the stage, where the actor dictates the performance, rather than being dictated to. This freedom extends to his personal life, marked by a love for “over the top” experiences and cherished relationships.
Upcoming Performances & A Brando-Sized Dream
Following previews in Grado and Trieste, Alessandro Haber will continue his performance circuit with dates at the Politeama on November 28, 29, and 30, and in December, as part of the ERT FVG circuit in San Daniele (November 9) and Cordenons (November 10).
The performance culminates with a tribute to Marlon Brando, a figure Haber openly admired, declaring, “I dreamed of being like him!” Yet, ultimately, Haber’s journey has led him to embrace his own unique identity – alone Haber, like hotels, like hoffman, like Heidi, but most importantly, like Haber.
