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Laura Betti
Life Time
1 May 1927 - 31 July 2004
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The Italian actress' real name is LauraTrombetti. She made her debut on the pop stage as a jazz singer worked in a revue in a drama theater where, already in her first season - 1956-57, she successfully performed in diverse roles from Cornell to Miller. The most famous actress brought the performance of song recitatives on the words of Moravia Pasolini Bassani Soldati Patti wrote specifically for her.
In 1965, Betty wrote and staged one of the most scandalous performances of Freedom is the Resistance,
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The Italian actress' real name is LauraTrombetti. She made her debut on the pop stage as a jazz singer worked in a revue in a drama theater where, already in her first season - 1956-57, she successfully performed in diverse roles from Cornell to Miller. The most famous actress brought the performance of song recitatives on the words of Moravia Pasolini Bassani Soldati Patti wrote specifically for her.
In 1965, Betty wrote and staged one of the most scandalous performances of Freedom is the Resistance, in which poetry and prose of anti-fascist guerrilla writers were used, accompanied by a song commentary. The anti-bourgeois pathos of the challenge to the generation of “fathers” who missed their chance for freedom in 1945, as well as the shocking form of the play made it the event of the season. Singer actress man of the theater in the broadest sense of the word Betty released dozens of records and became the right-flank of the coming "Spring of the 68th".
Betty’s debut in the cinema took place only in 1960 in a cameo role in F. Fellini’s film Sweet Life. Mostly, Betty was invited by peer directors like-minded people who expressed the spirit of youth protest with extreme sharpness: Pasolini (Theorem 1968 and Canterbury Tales 1972), Bellocchio (In the name of the father 1971 and Give the monster to the front page 1972), the Taviani brothers (Allonzanfan 1974) Bertolucci (XXX century 1975).
A special place in the biography of the actress is occupied by friendship and cooperation with P.P. Pasolini, in whom she starred in the novellas Sheep's Cheese (1963). (1967) and in the film Theorem where she created the image of the maid Emilia of a stupid limited maid who in the finale falls into a state of mystical ecstasy and even ascends to heaven exactly a saint.
Betty is so taken off not only when her artistic abilities are required, but when there is a need to have her personality on the screen. Therefore, she rarely appears, but her creative activity is as diverse as in her youth, although she no longer has the same assertiveness or destructive aggression.
Other films: Camels 1987; Blue Roses 1989; Big Watermelon 1994; Mario Maria and Mario 1994; Unruly 1994; Eyes Closed 1995; Bourgeois Hero 1995.