Carmelo Bene
Carmelo Bene in Nostra Signora dei Turchi (1968)
Born	(1937-09-01)1 September 1937 Campi Salentina, Italy
Died	16 March 2002(2002-03-16) (aged 64) Rome, Italy[1]
Occupation(s)	Actor, theater director, writer, film director, screenwriter
Years active	1967–2002
Spouses	Giuliana Rossi (1960–1965) Raffaella Baracchi (1992–2002; his death)
Children	1

Carmelo Pompilio Realino Antonio Bene, known as Carmelo Bene (1 September 1937 – 16 March 2002) was an Italian actor, poet, film director, and screenwriter. He was an important exponent of the Italian avant-garde theatre and cinema.^[2] In 1968, his movie Our Lady of the Turks won the Special Jury Prize (Venice Film Festival) at the Venice Film Festival. ^[3] He died of a heart ailment in 2002.^[4]

Works

Literature

In 1979 he wrote, in collaboration with French philosopher Gilles Deleuze, the essay "Superpositions". In 1984 his play Adelchi was published. In 1970 he wrote the screenplay A Boccaperta.

• I Appeared to the Madonna, translated with a preface by Carole Viers-Andronico (Contra Mundum Press: 2020)

Partial filmography

• Oedipus Rex (1967, directed by Pier Paolo Pasolini) - Creonte
• Nostra Signora dei Turchi - Our Lady of the Turks (1968, director, Venice Film Festival Special Jury Prize) - The Man / Narrator
• Catch as Catch Can (1968) - Priest
• Capricci (1969, director) - Poet
• The Syndicate: A Death in the Family (1970) - Billy Desco
• Don Giovanni (1970, director) - Don Giovanni
• Necropolis (1970)
• Tre nel mille (1971)
• Salomè (1972, director) - Erode Antipa / Onorio
• One Hamlet Less (1973, director) - Hamlet
• Claro (1975)

Selected bibliography in English

• Carmelo Bene, I Appeared to the Madonna, tr. with a preface by Carole Viers-Andronico (New York: Contra Mundum Press, 2020).
• Carmelo Bene, "I am Non-Existent: Therefore I am," tr. by Carole Viers Andronico, Hyperion: On the Future of Aesthetics, Vol. VIII, No. 1 (spring 2014) 37–44.
• Carmelo Bene, “Being in Abandonment: Reading as Non-Memory,” tr. by Rainer J. Hanshe, Hyperion: On the Future of Aesthetics, Vol. VIII, No. 1 (spring 2014) 45–49.
• Carmelo Bene, "Well, yes, Gilles Deleuze!," tr. by Rainer J. Hanshe, Hyperion: On the Future of Aesthetics, Vol. VIII, No. 1 (spring 2014) 50–57.
• Carmelo Bene, Our Lady of the Turks, tr. with a preface by Carole Viers-Andronico (New York: Contra Mundum Press, 2021).
• Gilles Deleuze, "One Manifesto Less," tr. by Alan Orenstein. The Deleuze Reader, ed. by Constantin V. Boundas (New York: Columbia UP, 1993) 204–222.
• Gilles Deleuze, "Cinema, body and brain, thought," in Cinema 2: The Time-Image, tr. by Hugh Tomlinson & Robert Galeta (Minnesota: University of Minnesota Press, 1989) 190–191; 220.
• Gilles Deleuze, "Manfred: an Extraordinary Renewal," in Two Regimes of Madness, tr. by Ames Hodges & Mike Taormina (New York: Semiotext(e), 2006) 188-189.
• Tristan Grünberg, "Outrageous Salome: Grace and Fury in Carmelo Bene’s Salomè and Ken Russell’s Salome’s Last Dance," in Performing Salome, Revealing Stories, ed. by Clair Rowden (Abingdon; New York: Routledge, 2016) 171–189.
• Emilio Villa, "Litany for Carmelo Bene," tr. by Dominic Siracusa, Hyperion: On the Future of Aesthetics, Vol. VIII, No. 1 (spring 2014) 58–67.
• Amos Vogel, "Capricci," in Film as Subversive Art (New York: Random House, 1976).
• Amos Vogel, "Our Lady of the Turks," in Film as Subversive Art (New York: Random House, 1976).
• Amos Vogel, "Don Giovanni," in Film as Subversive Art (New York: Random House, 1976).