2009 - Festival Workshop - Acting - Ugento


2009 - Festival Workshop - Acting


2009 - Festival Workshop - Music and Singing - Maglie: Instructor, Ron McIntyre


2009 - Festival Workshop - Video/Photo - Tricase: Instructor, Fabio Donato


2006 - Orlando In Love - Central Park




The things that we love the most should not be possessed, but transmitted. Precisely because they are loved so much they cannot be anyone’s exclusive possession – they must become common property. That is what happens to the stories we love to tell, which in the end no longer belong to us. It is the same thing with the great epic poems - they have become collective property. We have before us something that is transmitted from generation to generation through a constant moving process that overshadows the author and the readers.
The epics represent the primary and original property of a country, formed through time and fed with oral tradition, music (an often natural companion), and the establishment of new customs in an open and continuous dialogue.
Each country has its own epic, sought with persistence when confronted with an identity crisis, when the fragmentation, relativism, and uncontrolled anxiety created by all things new overshadow values considered deeply rooted and usually concentrated in the hero’s image. As a matter of fact, in every epic the image of the hero is essential. It is around him that historic adventures usually revolve, which is the reason why heroism is celebrated as the virtue that can catalyze the attention of mankind through time.
Big stories revolve around the hero and his adventures. […]
Therefore, each country has its epic, its Great Stories. To research them, renew them in our memory, tell them, and perform them means to hold onto one end of the stories’ thread. This includes the small stories, which feed themselves daily from common people’s vicissitudes and still keep their sense of heroism.
In fact, in order to confront the subject of heroism during the last century and the present one we must talk about the hero/anti-hero, about a group of people whose simple and difficult daily lives are already permeated with heroism.
(Maria Rosaria De Lume’, President of ICM, Province of Lecce, April 2009)


Festival Workshops

Acting (UGENTO): Instructor, Vittorio Capotorto
Set design (ARADEO): Instructor, Bruno Garofalo
Music and Singing (MAGLIE): Instructor, Ron McIntyre
Costume (ARADEO): Instructor, Mariagrazia Nicotra
Dance (UGENTO): Instructor, Quincy Junor
Video/Photo (TRICASE): Instructor, Fabio Donato


2007 – Philip Mazzei (an Italian – American World Hero) by Paolo Tartamella from an idea by Francesco Fulcini.

'Mazzei' is a successful challenge from the point of view of the stage, rhythm, originality of the work, and history. […] It is an intelligent, fast and amusing musical. […] Capotorto and his cast have staged a clear, lucid opera in which the music holds the story with its enthralling energy. […] Teatromania has produced its small masterpiece, with simplicity and spectacularity.” (America Oggi, July 10, 2007)


2006 – Orlando in Love (Naumburg Bandshell, Central Park, New York)

“The outcome of the staging has been exciting […] especially thanks to the compactedness of the performance due to the quick rhythm of the show. […] The Apulian director has done a refined harmonization effort, intertwining the threads of a complex show with diligent musical score, performances and staging. Of course, all of this has been possible thanks to a group of young actors who have carried the challenge to the end.
“With a neglected Italian theater in New York, after the success of the Orlando In Love, Vittorio Capotorto and Teatromania have asserted their authority as a constant point of reference for professional artistic projects”. (America Oggi, July 20, 2006)


2004 – Long-Legged Lies by Eduardo De Filippo

“A theater where man, while looking for his well-being, stumbles on his commonness giving life to a mixture of pain and comedy that makes the theater of Eduardo a necessary journey into the Italian culture.” (America Oggi, May 27, 2004)


2002-2003 – The Busboy by Paolo Tartamella

“Life is a comedy and behind the scenes of a Manhattan restaurant humor also comes with intense dramatic tonalities through a balanced performance between the tragic and the comic. […] So it has the rare quality to make us think about the everyday lives of people who work and live their entire existence always inside of the same walls, in a room where everything is concentrated: love, hope, life projects, and work. (America Oggi, December 15, 2002)


2001 – America! America! by Enzo Carollo

“An 'American-Italian comedy' that highlights the love that binds every man to his homeland.” (America Oggi, March 2, 2001)


2001 – Summer Program in Italy

of the Italian Department at Columbia University & International Festival “Orlando Innamorato”: Il giardino di Falerina, episodes from Books I and II of Matteo Maria Boiardo’s Orlando Innamorato


2000 – Summer Program in Italy

of the Italian Department at Columbia University: Orlando Innamorato (in Commedia)


1999 – Visita ai Parenti by Aldo Nicolaj

“The actors have shown loneliness on the stage with great skill through a light performance while emphasizing the imaginary grotesque of the author. With great effectiveness, Capotorto has also succeeded in making the public fall in love with such original and frantic human beings; he has drawn out of the actors and the text the one thing the characters are looking for – a little bit of happiness.” (America Oggi, November 22, 1999)


1999 – Sabbia by Paolo Tartamella

“A profound and complex operation that rediscovers the genius of the great musician Niccolo’ Van Westerhout (Mola di Bari, Italy) and sets in motion the new era of the Apulian communities overseas.” (Salvatore Distaso, Governor of Apulia, October, 1999)