Sylvia De Fanti: Chaos Theory in Motion
Sitting down with one of Netflix’s most intriguing actresses and academics
When you think of living a creative life you think art, music, poetry, and film. You think traveling the world and musing about the meaning of life and all its creatures, and truly taking the time to carry out the dreams you dream when you’re not preoccupied in the daily stressors of today. That might all seem romantic, but that is exactly what actress Sylvia De Fanti has done with her life and legacy. The Italian actress is known for her current role in Netflix’s Warrior Nun, and has spent her life traveling the globe, studying Anthropology and the science of communication, and diving into the realm of the unknown and creatively intriguing. Rival got the chance to sit down with the actress and talk about all things acting, art, and creation, and Sylvia had some amazing theories behind her passion for the stage.
Born in Montreal with zeal to travel the world, De Fanti started studying abroad at a young age. “I was twenty-one and studying in Paris at La Sorbonne,” she says, “and it was my first year completely by myself, so I was enjoying the taste of independence, freedom, and making autonomous choices.” That freedom led her to explore many paths, and one led her to a theatre performing atelier at the Sorbonne. “At the beginning it was like a flirtation,” the actress says, “funny and light. But when I finally put my foot on a real stage and heard my first real round of applause, I understood, then and there, that that was the love of my life.”
That first step led to a myriad of next steps which landed Sylvia her current lead role in Netflix’s breakout series Warrior Nun. De Fanti plays the strong female lead of Mother Superion, the nun in command and serious about training her sisters to defeat demons. De Fanti says that getting into character for the role is a process, and that it’s fantastic to be able to play such a strong female lead. “I ask myself questions about the character and her story and start to get inspired,” she tells Rival editors, “and it’s not always obvious. Sometimes inspiration finds its way quickly, and other times it takes a while. In this case I read the manga, which taught me about Mother Superion.” She says that by reading the graphic novels she was able to forge an “alchemic” connection with Superion, and that after that the process of discovering herself in the character came swiftly.
“After that you put the bricks together, and follow the yellow brick road! I walked carefully, slowly, trying to find a sort of effortless power on that path…and I believe it brought me to Mother Superion.”
In addition to her Netflix role, Sylvia was also a longtime cast member of the popular Italian television series Incantesimo. “Oh that was ages ago,” she says, “and for that moment of my life it was a fun learning experience.” The actress says that when the series was filming they sometimes shot ten scenes in a day, and it was on that set that she learned the importance of concentration and flexibility. Of course, Americans most likely aren’t familiar with the Italian series, and Sylvia says that the cultures are quite different between American and Italian TV. “Everything is different,” De Fanti states, “the pace, the decision-making process with regard to casting, how the business of things is handled; American television seems to prioritize the quality of the product in a way many other countries do not.” From the way the actors are treated on set to the final, edited episodes, Sylvia says that the contrast between the production of television in America and in other parts of the world differs drastically. "I will say, though,” she says, “that the popularity of international digital platforms is definitely challenging the Italian industry, and increasing the quality and driving the innovation of content.”
Now, De Fanti’s love of acting doesn’t stop at film and television. Her first love, that of the stage, stayed with her and she’s spent years cultivating a love of performance art that has led her to open her own cultural production center in Rome, Angelo Mai. “It concerns a vision of life that has community at its heart,” she says of the place, “and it is an experimental, independent laboratory; a collective of artists inhabits the space.” Angelo Mai is a stronghold of independent culture in Rome and has given many artists the opportunity and space to express themselves, their ideas, and their creativity, according to Sylvia.
“The center evokes conversation, provokes questions about the state of this present we live in, and all with a fair and open-minded ideology and an inclusive perspective.”
Inside that space is the Bluemotion theatre group, a product of the cultural center that includes Angelo Mai actors, musicians, and visual artists. “We share the creative process of each production we’re in, and it’s an amazing opportunity to learn and improve the work.” Sylvia even learned to play the bass thanks to the group, and urges members to continue to bring in new talent and focus on new playwrights, particularly in the UK. When it comes to choosing between her love of stage and her love of film, De Fanti says it plainly; she loves and needs them both. “Because of the medium, film is more permanent, of course,” she states, “but the live experience is holistic and magical and when one is fortunate enough either as an audience member or a live actor, the magic stays with you.”
Her pursuit of all of this magic, of course, didn’t come easy. De Fanti was born to a pragmatic family who, though they were always there for her, feared the security of her choice of career. “Their fear that I may fail to find success was definitely stronger than their faith,” Sylvia says, “and they were very traditional.” Of course, that tradition led her family to believe that a career in the arts may be financially unpredictable and that having such an uncommon profession may lead to failure. “But failure is a part of the game,” De Fanti says, “and I love my family, but their definition of ‘failure’ has never been the same as mine.” The actress says, though, that living in different countries as a child and growing up in different places and cultural contexts helped her to “deconstruct gender and social limitations,” and gain the confidence to question the world around her.
That questioning, surprisingly, led De Fanti to pursue an education in Cultural Anthropology, or, to be more precise, the Science of Communication focusing on Cultural and Visual Anthropology, Women and Gender Studies, and Postmodernism. “My final Dissertation was on Chaos Theory and Identity,” Sylvia tells us, and of course that study ties into her character development every time she takes to the stage or screen; she has an entire background on the human experience and identity to pull from. “I’m still actively interested in these subjects,” she says, “and having the chance to study is such a privilege. These matters inform our contemporary social life, and, as a result, arts and culture!” This theme of the academic leading to the artistic is something that resonates with De Fanti deeply, and she uses her background and studies to further her mission to spread art globally.
“My main interest has always been non binary systems: chaos theory does not necessarily contemplate disorder, but rather the threshold between order and disorder. That in between, far away from being neutral, is actually a creative space. It’s not black or white but it comprehends both and doesn’t exclude none of them. It’s not in or out, it’s beyond. Chaotic or complex systems are apparently unpredictable: a flapping of a butterfly's wings in Brazil can, yes, cause a tornado in Texas. But they actually underline the interconnection of all phenomenons. It means there is an ethical command to take care of others (therefore themselves) and the environment. How do I apply these complex theories to daily life? First not believing there’s only ONE thought, ONE truth. It means being able to exercise an eccentric, critical and plural outlook on the world, it means fighting for equality and social inclusiveness and limitations. It helps to deconstruct certain behavior patterns functional to the status quo, to deconstruct the dominant language, challenge the dynamics of power - the result of a patriarchal system - which do not consider the possibility of new narratives. It means believing that new forms of power can exist: transversal, community, relational. It’s a feminist approach, after all, which is not oppositional, as it is often superficially considered, on the contrary, it tends to be opposed to any dualism and Manichaean vision. It is an instrument of knowledge, it is a different, non-hierarchical way of building relationships. It means being anti-sexist, anti-racist, and it means recognizing and fighting daily against gender violence and opposing reactionary and exclusionary forms of power. It means creating bonds, making and creating kin.
My studies allow me to embody and perform different and multiple identities. What else is being an actor?”
This eloquent description of what it’s like to be so thoroughly intrigued by “human creatures” and their stories, by the black and white reality that so many of us feel trapped in and yearn to break free of, is what makes De Fanti such an excellent actress; she has truly studied human identity and what it means to be human at our core.
When asked what advice she has to give to young performers just now discovering their love for the craft, De Fanti plays it straight. “It’s very important to study and constantly work to stay sharp and hone your craft,” she states, “and keep learning new skills to help you become a more capable actor.” This academic approach to the art is a never ending journey, and she says that forming dependable, long-lasting relationships with coworkers and peers is crucial. “My manager Stacey, for example, has been with me since 2008,” she says, “and she’s stayed committed to my career and to encouraging me in times of profound doubt.” This type of support and community is irreplaceable as an artist.
Favorites
RIVAL: What is your favorite role you’ve ever played?
De Fanti: The one that has to come. And from the past Mother Superion and Betty, from the play Cloud Nine by Caryl Churchill.
RIVAL: Who is your current favorite designer?
De Fanti: There are several, but I must say that Alessandro Michele with Gucci is doing a great job!
RIVAL: What is your favorite color?
De Fanti: Purple
RIVAL: What is your favorite stage play?
De Fanti: Cloud Nine (Caryl Churchill), Top Girls (Caryl Churchill), all Shakespeare, all Čechov and an incredible play seen during the Edinburgh Fringe Festival 3 years ago: The Nature of Forgetting. So poetic!
RIVAL: What is your favorite food?
De Fanti: Spaghetti vongole e bottarga!
RIVAL: What is your favorite book?
As for the plays, I really don’t have one, but The Master and Margarita is definitely one of them!
TO LEARN MORE ABOUT SYLVIA De Fanti check her out on Instagram https://www.instagram.com/sylviadefanti/?hl=en
and On the Netflix Series “Warrior Nun”
Meet the Writer
Bio: Ashley works full time in entertainment in Atlanta and is a freelance writer, model, and actress. Her background in publishing and marketing, paired with a love for all things fashion and entertainment, led her straight to the Rival team. She has been featured in over twenty publications to date and continues to write for fashion magazines and entertainment journals nationwide.