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The Italian culture has been brought to the stage with much support from students and professors and this milestone is a testament to the success of the performances at UTM. This year we celebrate with much pride the 25th anniversary of the joining of the Italian and Canadian communities. Riccobene La Calandria di B. Bibbiena Non tutti i ladri vengono per nuocere di D. Fo Il ventaglio di G.

Italian Play | University of Toronto Mississauga

Goldoni Infedele di L. Capuana I Rusteghi di G. Scarpetta De Fillippo Dalla maschera al personaggio di G. Colli Campanile Uova sbattute Pugliese La locandiera di G. The wedding, however, is cancelled. Brighella, the innkeeper, recognises Beatrice, despite her disguise, but promises to keep her identity a secret and becomes her accomplice in her mission.

Here Truffaldino meets the housemaid, Smeraldina, and falls in love with her. Later, on the street, the servant Truffaldino is approached by Florindo who, having recently escaped from Turin after killing Federigo, is seeking a servant himself.

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From the hotel Florindo sends Truffaldino to check for his mail. Beatrice disguised as Federigo , who is also at the hotel, sends him to check her mail as well. Pantalone sees the two shake hands and takes it to mean that they have agreed to wed and sets out to tell Doctor Lombardi. Eventually, through a series of comic mishaps and mix-ups, Beatrice and Florindo come to believe that the other is dead. Beatrice, grief-stricken, abandons her disguise and flees the house. Fate again intervenes and brings the suicidal Beatrice and Florindo together in a chance encounter. In the end, all of the couples are set to be happily married.

Truffaldino, in order to marry Smeraldino, confesses that he is, indeed, a servant to two masters. Six people arrive in a theatre during rehearsals for a play. They are the characters of a play that has not yet been written. Trapped inside a traumatic event from which they long to escape, they desperately need a writer to complete their story and release them. Intrigued by their situation, the director and his company of actors listen as the characters begin to describe and argue over the key events of their lives.

Six Characters in Search of an Author caused a riot when it was first produced in Rome in , and was banned in Britain until Even after political unification in , Italy remained a country of the city state, of the region. No unity was to be found in arts and literature. In drama there were major differences in language, form and audience make-up, particularly between the north the locus of economic and political supremacy, concentrated in cities like Turin, Milan and Venice and the south Naples and Sicily.

Marked differences were also to be found among the main northern cities. Its major representative was the Sicilian Giovanni Verga — , whose narrative and theatrical works were studies of society in its historical context. His regional perspective underlay denunciations of the conditions of the poor and the working classes in Sicily. And lyric theatre, which had dominated the ninenteenth century, slowly gave ground to drama, although its importance never died. He held both the peasants and the petty bourgeosie in contempt, and yet he created the myths through which the petty bourgeoisie realized their forbidden dreams of exceptional loves and later of nationalist and imperialist longings.

He was also the poet and dramatist who personified the last fantasy of Italian tragedy, based on a classical past and an ill-fated grandiose scheme for total theatre in the open air. Also well known at home and abroad was the work of Roberto Bracco — , who went beyond the world of verismo to present spiritual and religious problems and the conflicts of the subconscious. The years of political stability and economic prosperity up to were also marked by a growing industrialization and the formation of a mass society.

Nationalist tendencies became more virulent, as seen in colonial expansion in Libya, and this led later to the birth of a single Fascist party and incipient civil war. The spirit of futurism — a literary and artistic movement — represented the modern industrialized world of capitalism.

The futurists were eager to destroy the past and the old ways of life in order to build a new world. In the theatre, Filippo Tommaso Marinetti, the father of futurism, wanted to destroy the concepts of proportion, perspective, time and space. He wrote his first experimental works in Paris, and it was there that he launched in the Manifesto of Italian Futurism, which provided a platform for new forms of literature and drama in Italy and abroad and had longer-term reverberations, especially in the s and after.

In contrast to futurism, the theatre of the grotesque playwrights reacted against the old bourgeois, sentimental drama by adopting its basic formulae and applying them to their own contemptuous, cynical and disillusioned work. Their mistrust of human beings led them to view people as puppets in a world driven by the machine.

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During the Fascist period under Mussolini —43 , with the exception of a few works that praised the regime and a few escapist plays, the theatre remained substantially unchanged. Fascism tolerated some small experimental and avant-garde groups that flourished in Rome and Milan. Most had a very short life, with the exception of the Teatro degli Indipendenti, an experimental studio theatre founded in Rome in by Anton Giulio Bragaglia — , who introduced new ideas of scenography.

After the Second World War, with the reorganization of the state and its new republican constitution, there was a strong mood of rebirth.

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Local councils many run by the left — promoted cultural events, created networks of activities and venues including the recovery of disused spaces , and helped establish new companies. Diffusion of culture to the masses and especially to young people was a priority. In the theatre, the main developments were the predominance of the director over the actor — teatro della regia and the formation of permanent theatre companies — teatri stabili.

The names of some of the leading directors Giorgio Strehler, Luigi Squarzina, Gianfranco de Bosio were associated with the major teatri stabili. In the immediate aftermath of the war, the stabili wanted to express the civic ideals of the resistance and of anti-Fascist culture. It was co-founded by Strehler and Paolo Grassi in At the same time, the theatre of Ugo Betti and Diego Fabbri was still very popular, an existentialist type of drama with religious overtones based on introspection and moral questioning. The dialect theatre of Eduardo De Filippo was also very successful.

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The true inheritor of the old Neapolitan tradition, he moved away from typical dialect theatre to a wider form of drama so that his work became a testament to the problems of his time: centrally, the inevitable conflict between the individual and a corrupt, disintegrating society. The search for moral values and the creation of an ethical code even in the midst of total chaos remain constant and central elements of his plays. In he formed the group Teatro Umoristico i de Filippo with his sister and brother.

In he founded his own company, Il Teatro di Eduardo, with which he worked as writer, director and actor until his death. His work is played abroad with great success. Between and , due to the boom of the film industry and the introduction of television, theatre audiences halved, ticket prices doubled and performances came to be concentrated mainly in Milan and Rome.

A counter-attack against this trend was mounted through the formation of permanent theatre companies in other Italian cities, through campaigns in favour of season tickets and through an effort to popularize the theatre, with the support of both private initiative and local and central government.