Written by: Ibrahim Shahata

An accurate global survey in media entertainment tells us that the face of the icon Wardal is the one that remains imprinted in the audience ‘s mind the longest, but so is his gaze.
Most of us believe that the gaze is an expression of what is inside us.
No, there are other elements that determine the gaze, including genetic factors. Therefore, a face and a gaze can imprint themselves in all of our imaginations, regardless of the person to whom they belong.
This can give rise to profound manipulation, also supported by AI.
When Federico Fellini received photos of Wardal as a teenager, however, he didn’t limit himself to perceiving the beauty of his face and gaze, but he saw beyond, he saw inside, deeper, but only a genius like Fellini can do this.
The “inside” that Fellini saw in Wardal’s image, knowing him personally, was confirmed.
Andy Warhol, however, tried to reproduce Wardal’s image through a model, without having obtained his permission.
At this point Wardal created a theory about his look: he exaggerated it by creating a greater challenge between being and appearing.
The challenge, still ongoing, is to erase his image, overwhelm it by an irresistibly intense acting that takes everything from the audience: mind, soul, heart.
Here Wardal’s great merit is to dispel the manipulation of an image as an end in itself, replacing it with solid emotional, intellectual, spiritual contents.
Thus, Wardal’s innovation shatters the design of an image that uses intersections of traits close to absolute beauty, close to myth and neighboring fields such as eternity, the magical, the dreamlike, tending to transcend the human condition by assuming the value of vital elements, such as, for example, light.
Wardal shatters this ephemeral design and restores it to us authentically, starting from inner beauty.
Many say Wardal gives light to the stage and not the other way around, and very few are capable of this, and very few are born capable of arousing this.
But wait, all this may raise a terrible doubt: can all this happen independently of the personality that animates a face and a gaze? Alarming.
Wardal, well aware of this, has invented a revolutionary look that creates a challenge between being and appearing.
Wardal’s look theory is beginning to be studied in academies and universities.
Wardal plays this great challenge in a chess game where he always plays
on the side of the being that defeats, erases, and collapses appearance, his own appearance, through his visceral stage ability, so total and intense that it submerges his spectacular image.

To better understand all this, let’s cite popular episodes known to the whole world, including that of Susan Boyle on Britain’s Got Talent.
Susan Boyle appears on stage with a completely unattractive appearance, arousing everyone’s disinterest, but as soon as she starts singing: “I dreamed a dream:” https://youtu.be/mS5Om47vsaA?si=o1h9xy-vdtxwMFlU ” she captivates everyone and her image changes, despite having changed nothing about her appearance.
For Wardal, the same dynamic occurs: the audience expects the performance to live up to her superb image, that is, they believe in the equation of good looks with value, an absurd equation that bases value on appearance.
But true value emerges, and Wardal proves, in order to exist, that he is not just a mannequin, speaking to the soul, to the heart.

Wardal, however, has a double power. An irresistible image, unprecedented stage power, and an overwhelming human power.
Wardal was launched by Federico Fellini, who was struck by his image but discovered his dramatic talents.
Andy Warhol, on the other hand, sought only to capture his image.
Today, Wardal, at the height of his splendor and timeless fame, is in high demand in Hollywood and will star in a film directed by Jason Zavaleta, who may also direct him
in Enrico Bernard’s ” Flesh Death Demon ” a sequel to “A Monster Named Lila.” Wardal will also shoot “Il signore del Marais” by Loredana Cicu D’Escano and perform a show in California and Florida paired with an Italian song superstar.

With original music by Andrea Ceccomori, his film “Anita,” based on a splendid lyric by the hero of two worlds Giuseppe Garibaldi, under the high patronage of Francesco Garibaldi Hibbert, will be shown from October 28th to November 4th during each of the celebrations marking 150 years of Italian emigration to the Brazilian state of Rio Grande do Sul, in the presence of Francesco Garibaldi and the Italian Ministry of Foreign Affairs. The film “Anita” will be premiered on November 9th at the San Francisco New Concept International Film Festival, chaired by Joanna Zhang, where Wardal’s look will be by Sardinian designer Antonio Zaru.
“Anita” will be awarded on December 13th in Pompeii at the Vesuvius Film Festival, president Giovanna D’Amodio, an edition dedicated to Wardal’s mentor Federico Fellini, where Wardal, testimonial of the film festival, always dressed by Antonio Zaru with make-up by Pablo Gil Cagnè, will recite “FELLINI’s dream” by Graziano Marraffa. But one more surprising piece of news: at the Vesuvius Film Festival, the “Courage for Freedom film award” by Francesco Garibaldi will debut, artistic direction Wardal, made up of the lawyer Lucia Pitzurra, Cristina Garibaldi, Eli Galiani, Loredana Cicu D’Escano, the only film award associated with the image of an immense hero like Garibaldi who brings cinematographic art closer to values ​​such as courage, freedom, independence.