Paola Borboni

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Paola Borboni (1982)

Paola Borboni (born January 1, 1900 in Golese , Parma , † April 9, 1995 in Bodio Lomnago ) was an Italian actress .

Life

From 1916 to 1945

Borboni, the daughter of an opera agent, made her debut in 1916 in the ensemble of Alfredo De Sanctis . The following year she achieved her first major success in the lead role of Shalom Asch's The God of Vengeance . The remarkably beautiful actress, who reveals a bubbly temperament, often played roles in which she was able to embody radiant ladies; During the following engagements with Elena Wronowska and Romano Calò in 1918, then next to Irma Gramatica and finally for a long time with Armando Falconi , where she was under contract for eight years from 1921, she proved her versatility and often played with irony. Her topless appearance in Alga marina by Carlo Veneziani caused a scandal in 1925 and increased awareness. Her skills and image allowed her to play dramatic and comical roles from vampires to tragic heroines. The acquaintance with Luigi Pirandello at the end of the decade as well as the artistic collaboration with Ruggero Ruggeri , who cast her in his ensemble from 1932, showed a mature actress. Had it in the seasons with Roberto Lupi -N. Pescatori worked in 1930 in search of dramatic forms of expression, she has now also won over as the leader of her own groups, in 1934/35 with Piero Carnabucci , then with Marcello Giorda . She achieved outstanding interpretations of this period in Jacques Deval's Tovaritch and George Bernard Shaw's Die Millionärin . With Come prima, meglio di prima , she was also seen for the first time in a Pirandello play.

After a season in 1937/38 alongside Luigi Cimara and one alongside Annibale Betrone , she took part in the revue Mani in tasca, naso al vente in 1940, which led to plans for a company exclusively committed to Pirandello. These were put into practice after another season with Ruggeri in 1942. With Lamberto Picasso she performed sixteen pieces by the author, in which she showed a clear sense of his dramaturgy. The productions by Vestire gli ignudi and La vita che ti diedi were particularly praised .

After the Second World War

After the Second World War , Borboni was still hungry for games and of inexhaustible vitality, even if she cut back the quantity of her stage appearances. She was still in 1945 alongside Salvo Randone directed by Orazio Costa in Ugo Bettis Vento notturno and in Eugene O'Neill's Journey of No Return . The great dramas were now her profession, she played William Shakespeare and Vittorio Alfieri intensively . Under Luchino Visconti she appeared in Arthur Miller's Witch Hunt in 1956 , and two years later under Giorgio Strehler in The Good Man of Sezuan . As early as 1954 she had begun appearances in which she compiled and performed monologues and scenes by well-known authors written especially for her. In 1970 Mrs. Warren's Profession by George Bernard Shaw , a widely acclaimed success.

In 1972 Borboni appeared in a musical by Garinei and Giovannini , "Ciao Rudy", alongside Oreste Lionello . In addition to her more than forty years younger husband Bruno Vilar , whom she married in 1972, which was perceived as a scandal due to the great age difference, she appeared in a cabaret program in 1975 with the title "Io Paola Borboni"; In addition, remarkable productions such as Lady Edward II after Christopher Marlowe , directed by Aldo Trionfi , Harold and Maude , Tartuffe , Tre civette sul comò (1982) or Luigi Pirandello's Così e se vi pare under Franco Zeffirelli were created again and again . She played Pirandello several times until shortly before her death. The titles Yerma , Klytamnestra , The Player or Io e Pirandello represent a selection of these works. In March 1994 she was on stage for the last time in Il berretto a sonagli - by Pirandello.

Her media-backed marriage to Vilar ended tragically as early as 1978. On June 23 of this year, Vilar died in a traffic accident, and from then on Borboni was dependent on crutches.

Movie

Since the silent movie era, Borboni was repeatedly seen on the screen; however, she always overshadowed these activities in her stage appearances. In almost all of her around ninety films, she can be seen in roles of exuberant, but the respective situations adapted vitality, which have the character of a "special participation" or guest appearances . Noteworthy among her works is the early serial Gli artigli d'acciaio from 1920, Sinfonia pastorale from 1921, her Russian wife in Le sorelle Materassi in 1943, the crushing mother of Simona in Roma ore 11 , the cleaning lady in William Wyler's Ein Herz und a crown from 1953, from which there are two other good examples with Die Müßiggänger and Terza liceo . Even more active in the early seventies, Sesso Matto became a late success in which Borboni was seen as a late riser. Not always sure in her selection of films, she can also be seen in a number of clothes.

Filmography (selection)

Web links

Commons : Paola Borboni  - Collection of Images

Individual evidence

  1. ↑ Andrea Orbicchiani, article Paola Borboni , in: Enrico Lancia, Roberto Poppi: Dizionario del cinema italiano. Le attrici. Rome 2003, pp. 44 + 45
personal data
SURNAME Borboni, Paola
BRIEF DESCRIPTION Italian actress
DATE OF BIRTH January 1, 1900
PLACE OF BIRTH Golese , Parma
DATE OF DEATH April 9, 1995
Place of death Bodio Lomnago