Angelo Dello Spedale

Angelo Dello Spedale has been an actor for over twenty years.

Invited by directors to work on their productions, he has trodden the boards of numerous Brussels theatres (the National, the KVS, the Rideau de Bruxelles, the Théâtre Océan Nord, the Varia, Les Martyrs, Le Public, etc.). He has performed in alternative venues: veterinary clinics, a hangar in Hankar...
Theatres in Lausanne: L'Arsenic and La Grange de Dorigny.
A Parisian theatre: L'Odéon. 
The tours of his shows have expanded the map of places where he has performed. 
This has enriched his perception of the relationship between the stage and the audience. 
His craftsmanship has been strengthened.

His academic background:
First prize from the Conservatoire royal de Bruxelles, Pierre Laroche class
Master's degree in theatre studies from the Faculty of Philosophy and Letters at UCL.
In addition to sustained physical training, Angelo Dello Spedale completed a professional training course on voice based on the principles of the Feldenkrais method, supported by the Marie-Paul Godenne Foundation.

His first roles included Edmond in David Mammeth's Edmond and Oedipus in Sophocles' Oedipus at Colonus.
His favourite characters, those who have left a smile in his heart, are Malvolio in Shakespeare's Twelfth Night in Commedia dell'arte. The guard in Aurélie Namur's On se suivra de près. Braukmann in Manfred Karge's La conquête du Pôle Sud, etc.
Angelo Dello Spedale has worked with classical and contemporary authors. He has danced and performed in dance theatre shows. He has participated in collective creative performances. He has been part of the ink used by stage authors in their writing. And he has also been imprinted on filmed material.
The masters who have influenced his practice throughout his career are Julien Roy, Franz Marijnen, Wim Vandekeybus, Benno Besson, Patrick Descamps, Fabrice Gorgerat, Pascal Crochet, Ingrid Von Wantoch and Joël Pommerat.
It stems from a curriculum where love of the text takes precedence. And from a practice where stage image, physicality and animality are prerequisites.