Educational Theatre for Women in Post-World War II Italy: A by Daniela Cavallaro
By Daniela Cavallaro
This ebook explores a massive second in Italian women’s theatre and cultural background: performs written for all-women casts among 1946 and the mid-1960s, authored for the main half by way of girls and played solely by means of ladies. simply because they featured merely woman roles, they targeting points of in particular women’s event, be it their spirituality, their destiny lives as better halves and moms, their current lives as staff or scholars, or their relationships with associates, sisters and moms. more often than not played in a Catholic setting, they have been intended to either entertain and train, reflecting the explicit matters that either performers and spectators needed to confront within the years among the top of the warfare and the start of the industrial miracle.
Drawing on fabric by no means ahead of researched, Educational Theatre for girls in Post-World struggle II Italy: A level in their Own recovers the existence and works of forgotten ladies playwrights whereas additionally discussing the function types that academic theatre provided to the younger Italian ladies coming of age within the post-war years.
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Extra info for Educational Theatre for Women in Post-World War II Italy: A Stage of Their Own
Nevertheless, the organisation did concede that female members could act in Catholic amateur groups as long as no men (not even priests) were involved (Pivato 1979b, 42–43). Marchesani Tonoli writes that already in the 1930s some amateur all- female theatre groups existed in Brescia, that they were led by nuns and, since males were not allowed in the cast or in the audience, that when necessary the girls would dress up as men (1998, 29). She mentions in particular the village of Cellatica (Brescia) where the all-girls theatre group would stage plays that lasted as long as four hours, to the delight of the exclusively female audience (1998, 73).
She should have a false, large, and ugly paper nose and a small mask that will make her as dark and ugly as possible” (quoted and translated in Weaver 2002, 144). One can imagine the amusement that such a character would have caused among the spectators and the fun that the young actress impersonating her would have had. The second is the frequent presence of gypsies as characters, which allowed for greater use of music, dance and colourful costumes. Furthermore, playwrights could exploit gypsies’ reputation for stealing and fortune telling to enliven the plot (Weaver 2002, 151).
L’eredità di madre Mazzarello passa nelle mani di madre Daghero (1881–1884). In Istituto Figlie di Maria Ausiliatrice: cronistoria, vol. 4, ed. Giselda Capetti. Roma: Scuola tipografica privata FMA. zip. Cervera, Juan. 2002. Historia crítica del teatro infantil español. Madrid: Editora Nacional, 1982. Edición digital: Biblioteca Virtual Miguel de Cervantes. htm. Civitelli, Alessia. 2007. “L’oratorio delle Figlie di Maria Ausiliatrice a Torino Valdocco all’inizio del ‘900”. In L’educazione salesiana dal 1880 al 1922.