Time.news – “I’ll tell you something about Lando Buzzanca that others won’t remember: Dante’s Cantata from the Asinelli Tower, made by Carmelo Bene, he did it too. And among his admirers was Carmelo Bene himself, who considered him to be excellent in technique, posture and phonation skills. Buzzanca was one of the best products of the great theater school”.
Pietrangelo Buttafuoco, writer, thus remembers the great actor who died and restores his theatrical greatness, recently hidden by the controversy over his stay in an RSA. “He had known how to build a character – continues Buttafuoco – around his mask. He felt the responsibility of this mask and the sense of catharsis, so, as a man-mask, he also knew how to face tragedy and went through suffering with the ability typical of tragedy “.
What Sicilian is Lando Buzzanca? “AND’ a universal Sicilian, which manages – replies the writer, also Sicilian – to be deciphered, interpreted, absorbed at any latitude. He had a very strong stage presence, which made him totally ‘male’ and in this sense his mask falls within the canon of tragedy because ‘in him there is the vital element of virility, in the archaic sense of the word, in a register of sensitivity and interpretation that goes from Sophocles to Aristophanes, from Euripides to Plautus“.
Were you misunderstood in Italian cinema? “As long as great directors like Pietro Germi exist – explains Buttafuoco thinking of the film “Seduced and abandoned” – he is understood. But then we were slapped by a vulgar, easy film production, with a comedy made up of body noises, profanity, the great actors already in mimicry manage to interpret a script that becomes a score and to create a repertoire that becomes classic. He was able to do it. He leaves, but that great school remains”. Who and what is left? “Just look at ‘The strangeness’ by Roberto Andò: real and non-photogenic actors are mobilized in the cast. In ‘The strangeness’ there are colleagues from Buzzanca like Tuccio Musumeci who hypnotize the viewer without saying a word”.