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La Donna Fatale Tra Evoluzione Ed Emarginazione

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La Donna Fatale Tra Evoluzione Ed Emarginazione LA DONNA FATALE TRA EVOLUZIONE ED EMARGINAZIONE A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Italian Studies. By Courtney N. Owens, B.S. Washington, DC April 23, 2013 Copyright 2013 by Courtney N. Owens All Rights Reserved ii LA DONNA FATALE TRA EVOLUZIONE ED EMARGINAZIONE Courtney N. Owens, B.S. Thesis Advisor: Gianni Cicali, Ph.D. ABSTRACT In the history of women there have been many controversial figures that have challenged the stereotypes and traditional ideas about women formed by patriarchal societies. Amidst the women who chose to break the rules of society and contradict the perfect, “feminine” model of purity, there are some women that can be considered true heroines of their time. Such women outside of the regular schemas of society are called many different names: vampire, man-eater, ogress, siren, tiger, witch, amazon, seductress, or courtesan. The all-encompassing name is femme fatale and she finds an ally in the beginnings of cinema and she becomes known as diva. The silent movies become her world stage and with the silver screen she finds an outlet to seduce a new audience: the everyday people. The purpose of this thesis is to examine the evolution of the Italian femme fatale of Italian silent film by following examples of her origins in 19th-century history, art, fashion, poetry, theater and literature. The popularity of the femme fatale culminates in the 1910s and then her figure eventually becomes marginalized by societal pressures. The function and role of the Italian femme fatale is discussed from a symbolic and iconographical point of view, while considering the femme fatale’s implications for feminism. Does the Italian femme fatale represent modernity and the emancipation of women? Or, does she only confirm gender roles set by men? Does her role in Italian silent film mirror changes, or represent progress off the silver screen? The thesis attempts to answer such questions by analyzing the films and the lives of Francesca Bertini, Pina Menichelli, Lyda Borelli as well as Eleonora Duse. iii The research and writing of this thesis is dedicated to everyone who helped along the way. Vi ringrazio tanto, Courtney iv TABLE OF CONTENTS INTRODUZIONE ...................................................................................................................................................... 1 LA NASCITA DELLA FEMME FATALE ............................................................................................................ 3 LA BELLE ÉPOQUE E L’ART NOUVEAU ........................................................................... 4 DECADENTISMO ...................................................................................................................... 9 CHARLES BAUDELAIRE E LES FLEURS DU MAL, 1857 ......................................... 11 FEMME FATALE E MODA EMANCIPATA ..................................................................... 15 LA DONNA FATALE TRA TEATRO E LETTERATURA ........................................................................... 20 LA SECONDA DONNA DEL TEATRO ............................................................................... 22 DIVISMO .................................................................................................................................... 24 IL DIVA-FILM ........................................................................................................................... 27 THE TRAGEDY OF MACBETH, WILLIAM SHAKESPEARE 1606 ......................... 28 LA LOCANDIERA, CARLO GOLDONI 1752 ................................................................... 30 FOSCA, IGINIO UGO TARCHETTI 1869 ........................................................................ 33 LA LUPA, GIOVANNI VERGA 1880 ................................................................................. 35 SI GIRA, LUIGI PIRANDELLO 1916 ................................................................................ 37 BUONA O CATTIVA? – L’OTTICA FEMMINISTA .................................................................................... 43 IL MODELLO DA SEGUIRE: LA DONNA EMANCIPATA ......................................... 43 L’ANTI MODELLO: LA DONNA MALVAGIA ................................................................ 46 LE GRANDI DIVE DEL CINEMA MUTO ITALIANO ................................................................................ 50 FRANCESCA BERTINI .......................................................................................................... 51 ASSUNTA SPINA, CAESAR FILM 1915 ........................................................ 52 MARION, BERTINI FILM 1920 ....................................................................... 57 PINA MENICHELLI ............................................................................................................... 64 IL FUOCO, ITALA FILM 1915 .......................................................................... 65 TIGRE REALE, ITALA FILM 1916 .................................................................. 81 LYDA BORELLI ....................................................................................................................... 86 RAPSODIA SATANICA, CINES FILM 1917 .................................................. 87 L’ANTI-DIVA: ELEONORA DUSE E CENERE, AMBROSIO FILM 1916 .............. 91 IL RUOLO DELLA DONNA FATALE ................................................................................. 93 CONCLUSIONI ....................................................................................................................................................... 95 BIBLIOGRAFIA ......................................................................................................................... 98 v INTRODUZIONE Nella storia delle donne che hanno sfidato gli stereotipi formati dalla società patriarcale, ci sono sempre state figure controverse. Fra le donne che non si sono conformate alle regole sociali della loro epoca, o al modello della “femmina” perfetta, ci sono alcune che possono essere definite come eroine della loro epoca. Tali donne fuori dagli schemi regolari della società sono state chiamate con molti nomi diversi: vampira, mangiatrice d’uomini, donna rapace, sirena, tigre, seduttrice, strega, orchessa, o chanteuse. Il nome onnicomprensivo è femme fatale e con l’inizio del cinema la femme fatale diventa una diva. Il cinematografo diventa il suo palcoscenico mondiale e con il grande schermo trova uno sbocco per sedurre un nuovo pubblico: la gente comune. Discuteremo l’evoluzione della donna fatale nel cinema muto italiano seguendone esempi della storia, nell’arte, nella poesia, nel teatro e nella letteratura ottocenteschi. La donna fatale rappresenta la modernità e l’emancipazione delle donne negli anni dieci o conferma soltanto le strutture patriarcali? Rispecchia la società italiana contemporanea o solo una sua piccola frazione? La popolarità della donna fatale culmina negli anni dieci e poi la sua figura diventa marginalizzata dalle pressioni sociali. La funzione e il ruolo della donna fatale in particolare sono discussi da un punto di vista simbolico e iconografico, considerando nello stesso tempo le implicazioni della femme fatale per il femminismo. La tesi cerca di rispondere a tali domande analizzando i film e la vita di Francesca Bertini, Pina Menichelli, Lyda Borelli, e in piccola parte Eleonora Duse. Le immagini e i simboli sono importanti non solo quando sono indicatori di caratteristiche intrinsecamente femminili come i fiori, ma anche quando rappresentano elementi determinanti di aspettative culturali e sociali. Le prime dive del cinema italiano “provide a kind 1 of visual archetype of the notion of representational fatality connected to larger issues of desire and shifting cultural fantasies about women in art” (Ramirez 65). La diva è una figura le cui origini si trovano nel repertorio pervenutoci di immagini e nei temi dei romanzi decadenti e dell’arte ottocentesca. In questa discussione tratterò il potere iconografico della femme fatale e come i suoi simboli caratteristici sono universalizzati nel tempo, portando con sé tutte le nozioni essenziali della sessualità femminile (e i pericoli di quella sessualità) che essi implicano. I simboli della femme fatale, se prodotti dalla poesia, dall’arte, dalla moda, dalla letteratura o dal cinema muto, creano costantemente immagini nella nostra mente in contrasto con il loro vero significato. È il loro vero significato che cerco di definire. Com’è stata rappresentata sul grande schermo l’anti-modello “mangiatrice” d’uomini, la donna androgina e moderna? Si può dire che essa sia una finestra sul futuro di una certa condizione femminile? Vedere l’effetto della donna fatale nel cinema muto, e chiedersi quale siano state la reazione e le prime impressioni del pubblico è una domanda che ha una sua rilevanza. Perché proprio negli anni dieci la femme fatale raggiunge un livello di celebrità nazionale che attraversa tutte le classi sociali? Esamineremo queste domande in aggiunta alla figura della donna fatale seguendo l’ottica femminista per vedere se aveva contribuito a emancipare le donne, o se le aveva soltanto condannate a un’immagine negativa. Prima di poter rispondere a queste domande, dobbiamo iniziare dalle origini della femme fatale quasi cinquant’anni prima che diventi una diva. Da dove proviene? Come si è trasformata nella stella del cinema
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