Hemingway’s famous lecture on writing at Harvard strongly resembles Federico Fellini’s view on acting and Michelangelo Antonioni’s on directing. Hemingway opened his discourse with a pointed question: How many in this room want to write? Let’s have a show of hands. All hands went up. After a long pause Hemingway asked: So, what are you doing here? Why aren’t you at your desk writing? The point is that an actor learns best by acting. The guidance of a film author who has chosen actors based on identified skills and aptitude makes real progress possible in a short time.

Maestro Aldo Vidali honors Fellini’s and Antonioni’s great spirit of reality and artistic freedom by providing high-intensity acting tutoring for a limited period. The few students thus selected will have the option of becoming part of the production of a motion picture about the life and the teaching of Federico Fellini, an extraordinary window on current life. This film will serve both to launch new artists and to educate them through the magic of a unique method of acting.

In 10 intense one-on-one workshops selected talent will be transformed into competent actors well on their way to developing the full flowering of personality and skills necessary for motion picture acting and public speaking.

THE VIDALI FAMILY Three generations of cinema and artistic tradition began at the inception of motion pictures in Italy:

In 1912 Giovanni Enrico Vidali directed two very early historical silent films: The Last Days of Pompei and Spartacus.

Emilia Vidali, daughter of Giovanni Enrico, starred at 17 as Lucia in the first sound film of the classic Italian novel: IPromessi Sposi by Alessandro Manzoni. Emilia Vidali then went on to a career as a Soprano Lirico and was Prima Donna in theaters across Europe, including the Royal Opera House of Rome, and Argentinean, Brazilian, and American theaters. After the war and the fall of the fascist and Nazi dictatorships that had attempted to create a European Empire, the Vidali Family moved to Brazil where Emilia launched the Tespi lyrical tradition, teaching bel canto and performing on radio and the early television.






Vidali directing young actor on the set of The Straw Hat and the Crown

Filming of Africa Addio: goldminers

As the Italian post-WWII film renaissance unfolded, Aldo Vidali formed a production company which brought about a motion picture partnership between American and Italian cinema. In 1961, he formed Autori Associati and Michelangelo Antonioni Gruppo Internazionale Cinematografico (M.A.G.I.C. Films) in Rome, Italy. The same year he formed Texitalia Films in the United States.

During this period Vidalicollaborated with Federiz and Rizzoli Productions. On Africa Addio (Goodbye Africa) as Second Unit Director, Vidaliworked with Gualtiero Iacopettiof Mondo Cane fame.

From 1961-1965 he worked with Michelangelo Antonioni and collaborated in the development of The Strange Story of Signor G. Mastorna with Federico Fellini.

During this period Maestro Vidalibecame acquainted with the late Luchino Visconti and Pier Paolo Pasolini.

Vidali produced several films, including The Game the World Plays, Sunset at Dawn, The Straw Hat and the Crown (which started the innovative idea of superimposing a movie story over a documentary background), and A Trail to the Stars.

In subsequent years Maestro Vidali pursued oceanic exploration on his self-built 50-foot ketch (having the great experience of meeting Jacques Cousteau’s Calipso in the Eastern Pacific), and has dedicated a number of years to environmental work.


Now at age 75, assisted by wife Viktoria, sons Orlando and Lorenzo, and students while making Life & Liberty in the Balance, Maestro Vidali dedicates the remaining years of his life to the restoration of social responsibility by protecting the global environment, America’s Constitution, and the Democracy he came to love from the day he left Italy at age 18.

Maestro Vidali is training Americans of all ages to develop their talents and personalities. His production of a film about Fellini will give voice to the human aspirations the great maestro defended in his life’s work. The project will focus on restoring a free media so that the public mind, so long held captive to corporate commercial interests, will be liberated to achieve the American vision of “liberty and justice for all.”


Maestro Vidali is currently writing a book about acting called Fellini and the Revealing Art of Movie Acting.

During the next 12 months Maestro Vidali will develop a few acting/speaking talents into dynamic personalities. If you have a burning desire to become an accomplished acting talent with a fascinating personality that will be heard and will influence people, call while there is still time before Maestromoves to Rome for the production of his movie on Federico Fellini.

At the summit of 21st Century film industry, two Italian directors stand unsurpassed among the few great film makers of the post WWII period: Federico Fellini and Michelangelo Antonioni. Fellini has become part of the international language, and it is said that “what Shakespeare is to the theater, Fellini is to cinema.” Antonioni’s fame for greatness is such that prestigious universities, such as UC Berkeley, offer classes in Antonioni cinema. Fellini and Antonioni possessed different styles and philosophies, yet each reached beyond the limits suggested by the title “director.” Both were true “film authors.” They wrote, designed sets and costumes, selected music, controlled special effects, created new actors from chosen inexperienced people, and molded and directed established actors to fit perfectly into the visual universes produced in their cinematic work.

Motion picture acting diverges from theater acting in many ways due to the extraordinary flexibility of the medium. At the summit of 21st Century film two Italian directors stand unsurpassed among the few great film makers of the post WWII period: Federico Fellini and Michelangelo Antonioni. Each possessed differing styles and philosophies, yet each reached beyond the limits suggested by the title “director.” Both were in fact “film authors.” They wrote, designed sets and costumes, selected music, controlled special effects, from inexperienced people created and trained new actors, and molded and directed established actors to fit perfectly into the visual universes produced with each cinematic work.



In the early 1960’s Aldo Vidali met Federico Fellini. Vidali and Fellini ventured into metaphysical discourse about certain mysterious phenomena they had both experienced. It was during this period that Maestro Vidali had the opportunity to learn much from this great cine-magician and the word M.A.G.I.C. became the name he chose for the Italian film company he set up during that same period with the other great master of films, Michelangelo Antonioni – MichelangeloAntonioni Gruppo Internazionale Cinematografico (M.A.G.I.C. Films).


This metaphysical/magic relationship with Fellini evolved further after Fellini saw Vidali’s film outline of Project 37, a major proposal at that time being contemplated by Palomar Productions in Hollywood. The project dealt with a theme and ideas remarkably similar to Fellini’s then highly secret project, The Strange Voyage of Mr. Mastorna, about magic, life after death, and the multidimensional aspects of reality. This project remained one of Fellini’s deepest and most ambitious ideas for a long time. After many false starts, including set designs and construction, a variety of difficulties intervened and the mysterious project remained in limbo and incomplete. To this day much speculation is entertained on what Fellini had in mind. Maestro Vidali was privileged to exchange ideas concerning some of his most profound intuitions about Ultimate Reality.


Fellini was a magician with a deep metaphysical sense of reality which he has expressed in every film with elaborate symbology. In the excerpts from a 1990 interview, three years before he died, the Master speaks on life, art, and Carlos Castañeda. To glimpse Fellini’s mind is to glimpse the edge between two universes: a man profoundly simple and sincerely searching for Reality without pretenses. A unique Master.



A visual which is beautiful and fine, elegant and exquisite, can only be approximated in words. Antonioni’s images are constantly shifting. Objects disappear and recompose, lines, structures, colors, tones shimmer and alter. Nothing is fixed in an Antonioni image, nothing secure, nothing clear, at least not for very long. His vision touches things like a caress, glances by them, sensitive to changes in light and shape, and to changes brought about by the act of looking itself.

How can you seize hold of such impermanence?

How do you grasp and reduce what is unfixed, tentative, fleeting?

In L’Avventura, Special Jury Prize, Cannes, 1960, after five features in 10 years, Antonioni’s style achieved a maturity that redefined our traditional views of cinematic time and space. Yet the plot is a simple one. Claudia, Anna (Claudia’s wealthy girl friend), and Sandro (Anna’s lover) go on a Mediterranean cruise, but Anna mysteriously disappears. Claudia and Sandro go in search of her and become lovers along the way. Anna is less forgotten, perhaps, than displaced by the mystery of the island, the composition of horizon and sea, the compulsive beauty of the rocks and the waves. Searching for one thing, they find another. Not only have the characters encountered other things in losing Anna, but the film has also encountered other interests. Using a rather traditional story line, Antonioni’s originality lies precisely in his de-emphasis of the dramatic potential of film plot. Fed up with the systematic arrangement of cinematic materials, Antonioni instead develops the problems, complications, and resolutions through the psychological conflict that arises between well-defined figures and makes uses of the story’s internal rhythms to tie the cinema to the truth rather than to logic. Outstanding, too, is his ability to portray modern neurotic, alienated, and guilt ridden characters.

Antonioni made a film in China, Chung Kuo Cina, during the Cultural Revolution in 1972. He had been invited to make the film by the Chinese authorities. The film is nearly four hours long and was made for Italian State Television (RAI). The Chinese authorities hated the film. Antonioni was vilified. A propaganda campaign was launched against him and his film. One billion Chinese were asked to denounce a film they had not seen and a man they had never heard of. The film is beautiful. The Chinese authorities wanted a film which glorified the Revolution, a film full of certainties. Antonioni gave them instead a film of immense affection, care, and attention, but one as a result at odds with the official, the sure, the conventional, and the false. In doing so, the film suggested a politics of art based on openness, on looking, on wondering, on respect for the specific, the particular, the individual. It was a journey in search of what was hidden and interior in China, not its political public face, but its human one. Such a film was unbearable to those in power.

In January 2004 students of the Fellini-Antonioni Acting Studio took part in a dramatization called THE ONE and why the liars would silence him. This film can be ordered at http://www.uneco.orgor viewed online at Archive.org. [Read Santa Cruz Sentinel feature story about this production.

Any person who sincerely desires to achieve professional acting ability must be willing to dedicate 3 hours a week for 10 weeks on individualized training, and supplement the training with 6 or more hours of homework.

Total cost of this training: $5,000.

If are interested in joining a once in a lifetime 30-day cinema adventure in Rome, Italy, where your will participate, before and behind the camera in filming the story of Federico Fellini, please call Maestro Vidali now at 831-454-9191 to schedule a telephone interview.