Heater Dictionary Arti Dello Spettacolo / Performing Arts
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heater Dictionary Arti dello Spettacolo / Performing Arts Series Director Donatella Gavrilovich Tor Vergata University of Rome Advisory Board Marie-Christine Autant-Mathieu CNRS, Paris (France) Paola Bertolone University of Siena Maria Ida Biggi Ca’ Foscari University of Venice Erica Dal Zio “Michael Chekhov Association MICHA”, New York (USA) Erica Faccioli Academy of Fine Arts of Bologna Gabriella Elina Imposti University of Bologna Ol’ga Kupcova History of Art Institute, Moscow (Russia) Roger Salas Dance critic and journalist, Madrid (Spain) Donato Santeramo Queen’s University, Kingston (Canada) This series uses a peer-review method whereby the text is evaluated partially, impartially and anonymously by collaborators. Twentieth-Century Italian Playwrights edited by Rocco Capozzi Florinda Nardi Domenico Pietropaolo Donato Santeramo Volume I UniversItalia The editors and publisher gratefully acknowledge permission to use copyright material. Every effort has been made to trace and contact all copyright holders. If there are any inadvertent omissions, we apologise to those concerned, and ask that you contact the publisher so that any oversight can be corrected as soon as possible. Literary Property Rights Reserved Copyright 2016 - UniversItalia - Rome ISBN 978-88-6507-790-0 In accordance with copyright law and the civil code, it is prohibited to reproduce this book in part or entirely through any electronic or mechanical method, be it through photocopy, microfilm, recording or any other means. The text may be photocopied for personal use, but only within the limits of 15% of this volume and upon the payment of a fee provided to the SIAE as stated under art. 68 of the Italian Constitution, part 4 and 5 of law no. 633 passed on 22 April 1941. Any reproduction for the purposes other than that of personal use, must be authorised by the authors or by the publisher. Contents Introduction IX Volume I Eduardo Scarpetta by Giuliana Dal Piaz 1 Salvatore Di Giacomo by Mario B. Mignone 11 Gabriele d’Annunzio by Florinda Nardi 19 Luigi Pirandello by Manuela Gieri and Donato Santeramo 41 Nino Martoglio by Gaetano Cipolla 73 Filippo Tommaso Marinetti by Bernadette Wegenstein 85 Luigi Antonelli by Michael Vena 99 Massimo Bontempelli by Luca Somigli 117 Luigi Chiarelli by Gaetana Marrone 133 Ettore Petrolini by Carlo Coen 145 Enrico Prampolini by Antonio Saccoccio 153 Enrico Cavacchioli by Michael Vena 161 Pier Maria Rosso di San Secondo by Emanuele Licastro 173 Raffaele Viviani by Jane House 185 Alberto Savinio by Luca Somigli 209 Ugo Betti by Emanuele Licastro 221 Achille Campanile by Florinda Nardi 231 Volume II Eduardo De Filippo by Mario B. Mignone 249 Peppino De Filippo by Florinda Nardi 265 Beniamino Joppolo by Natale Tedesco 281 Vitaliano Brancati by Gaetano Cipolla 289 Alberto Moravia by Angelo Favaro 301 Ennio Flaiano by Fabrizio Natalini 319 Diego Fabbri by Gian Giacomo Colli 335 Natalia Ginzburg by Vera F. Golini 355 Aldo Nicolaj by Rocco Capozzi 369 Pier Paolo Pasolini by Patrick A. Rumble 383 Giovanni Testori by Andrea Bisicchia 399 Dario Fo by Andrea Bisicchia 411 Italo Calvino by Franco Ricci 435 Franca Rame by Vera F. Golini 443 Dacia Maraini by Vera F. Golini 457 Carmelo Bene by Roberto Tessari 471 Michele Perriera by Umberto Artioli 487 Paolo Puppa by Donato Santeramo 497 Stefano Benni by Antonella, detta Antonia, Paolini 507 Enrico Bernard by Rocco Capozzi 515 Giuseppe Manfridi by Fabio Pierangeli 529 Mario Martone by Roberta Tabanelli 535 Emma Dante by Lucia Strappini 555 Photographs 563 Ennio Flaiano (Pescara, 5 March 1910 - Rome, 20 November 1972) by Fabrizio Natalini Università di Roma “Tor Vergata” nnio Flaiano, playwright, iano’s novel, Tempo di uccidere (A screenwriter, journalist, novel - Time to Kill). Another significant as - Eist, and film critic, was born on pect of this diary is that Flaiano writes March 5, 1910 in Pescara, a small city with repulsion of the massacres of the in the central Italian region of indigenous people that were taking Abruzzo on the Adriatic Coast. His place in Ethiopia. father, Cetteo, was a merchant who In November of 1936 he returned had married Ennio’s mother after his to Italy and suffered a nervous break - first wife’s death. Flaiano described down. He returned to Rome and took his father as being a very solitary type part in heated discussions with Italy’s who hardly ever smiled. Ennio spent major intellectuals of the time. In his childhood in several boarding 1939 Flaiano started writing theater schools in various cities across Italy, and film reviews for the weekly mag - (Camerino, Senigallia, Fermo, Chieti azine “Oggi” even though he had and Brescia), mainly as a conse - been collaborating with the magazine quence of family problems as his fa - since 1931, and in 1942 he became ther had a long lasting extramarital involved in film industry by helping affair. At the age of 15 he attended the to produce Pastor Angelicus , both as Collegio Nazionale, another boarding co-screenwriter and assistant direc - school, in Rome, where he studied ac - tor; a documentary on the life of Pope counting. He will later remember Pius XII. This beginning in the film these years at the Collegio Nazionale industry is quite paradoxical if one as the four most useless years of his thinks of Flaiano’s extremely secular, life. After having failed his high school almost anticlerical stance in life. His 320 graduation exam in bookkeeping, he father died on July 9, 1943. A year ear - took up art studies at an Liceo Artis - lier Ennio had married Rosetta Rota tico. He then attended university, the with whom he had a daughter, Lelè. faculty of Architecture, without ever Only a few months after her birth graduating because he was sum - Lelè was diagnosed with encephalitis. moned by the army. In these years His daughter’s illness will be source of however, Flaiano often attended great pain throughout Flaiano’s life, avant-garde spectacles in Rome and who in a work, La spirale tentatively befriended the artist Orfeo Tamburri (The Spiral Tentatively), will de - who will play an important part in the scribe a severe epileptic crisis Lelè first years of Flaiano’s artistic career. had which almost took her life. In this At 23 he attended Military College work Flaiano’s ‘cosmic pessimism’ is and upon completion was sent to expressed as he writes of his devastat - Ethiopia as a lieutenant. ing pain for Lelè’s condition. His military experience in Ethiopia Flaiano always continued his work is recounted in one of his many di - as a screenwriter even while he aries found posthumous. It is a very worked as a journalist; he will collab - fragmentary work but of great signif - orate with several newspapers, liter - icance. In fact, Flaiano writes of the ally over twenty. He however, gave up great corruption amongst the Italian reviewing films when his career as a troops in Ethiopia. Specifically, he novelist and dramatist intensified. In writes that some officers would be 1950 he lived briefly in Paris where he paid with a stratagem to build roads met Jean Cocteau and befriended sev - and became quite rich in doing so, eral Surrealist Avant-garde artists. In just like one of the characters of Fla - 1957 he received his first of three Ennio Flaiano Oscar Nominations for best screen - needs to reach a city near his military play for I vitelloni (The Young and the camp in order to see a dentist for a Passionate). In 1959 he was nomi - toothache, but the truck he is on has nated for La dolce vita and in 1963 for an accident and the young officer de - Federico Fellini’s 8½. In the Mid Six - cides to continue on foot. He gets lost ties Flaiano lived both in Rome and but has a wonderful encounter: a New York where he collaborated on beautiful indigenous woman, Miriam, several screenplays. In New York he is washing herself in a puddle near a met Camilla Martellini who became river. That night he sleeps with her, his lover. He also hoped to direct a not without remorse as he is married movie in the US, About a Woman , and has children back home in Italy. which was never to be shot because That same night, suddenly an animal he refused to change his tragic ending attacks them in the dark. The officer into a happy one. shoots at it but ends up wounding During the 1960s, Flaiano’s in - Miriam. Shaken and traumatized, he volvement in cinema diminished no - decides to shoot and kill Miriam with ticeably as a result of his severe the purpose of ending her suffering. disappointment for not being asked He then buries her there in the forest. to direct Melampo , a short story he Throughout the novel, by chance he had turned into a screenplay. The pro - will often end up where he had buried ducers of the film opted instead for the young woman. Wounds appear the famous director, Marco Ferreri, to unexpectedly on his hand and he be - direct the movie which was released lieves he has contracted leprosy from with the title of La cagna (The Bitch). Miriam. After several misfortunes and Flaiano died from a heart attack in adventures he ends up in Miriam’s vil - 321 Rome on November 20, 1972. lage where he is treated and cured by Only after his death did critics her father. He then returns to his mil - begin to comment on how Flaiano itary company camp and to Italy. earned a place among contemporary Flaiano’s fame resides above all on writers and playwrights; yet, he was the many screenplays he co-authored not in reality well known, even with Federico Fellini including Luci though he certainly was a major del varietà (Variety Lights) , Lo sceicco player in several areas of the Italy’s lit - bianco (The White Sheik), I vitelloni , erary and entertainment worlds.