Papers by Daniela Cavallaro
New Zealand and Europe, 2005
Page 1. 1 For a biographical note on Felice Vaggioli (1845-1921), see Crockett vii-xii. EUROPEAN ... more Page 1. 1 For a biographical note on Felice Vaggioli (1845-1921), see Crockett vii-xii. EUROPEAN STUDIES 21 (200): 205-221 'UNA ITALIA AUSTRALE'? TWO ITALIAN TRAVELLERS DESCRIBE NEW ZEALAND Daniela Cavallaro ...
Writing and Performing Female Identity in Italian Culture, 2017
This chapter presents the publication history, mission, editor, contracts, competitions, authors ... more This chapter presents the publication history, mission, editor, contracts, competitions, authors and relationship with Teatro delle giovani of the other main Catholic theatre magazine, Ancora’s Scene femminili (1946–59). Created as a reaction to the sort of melodramatic or religious “nuns’ plays” (of which Teatro delle giovani sometimes gave examples), with the goal of staging theatre for modern young women yet always remaining faithful to a Catholic educational framework, Scene femminili provides a glimpse into the changes taking place in Italian society: marriage as a woman’s choice, but also hinting at the possibility of divorce; women’s leadership in the family; women in the workplace; and the need for forgiveness and solidarity.
Revista internacional de culturas y literaturas, Oct 8, 2021
Este artículo presenta los primeros resultados de la investigación de la autora sobre las dos pie... more Este artículo presenta los primeros resultados de la investigación de la autora sobre las dos piezas teatrales escritas y publicadas por Alba de Céspedes. Discutiendo Gli affetti di famiglia, (1952) escrita con Agostino degli Espinosa, el artículo se apoya en documentos de archivos que se encuentran entre los papeles pertenecientes a degli Espinosa. En el caso de Quaderno proibito (1961), el artículo analiza sobre todo los cambios que de Céspedes aportó a la pieza después de su estreno, para las representaciones al extranjero. A través de documentos de archivos (borradores, cartas, páginas de diario), el artículo intenta reconstruir el proceso creativo de Alba de Céspedes en sus obras teatrales, así como su actitud hacia el teatro como género de expresión creativa.
Modern Language Review, 2020
This chapter concludes the volume, exploring the legacy of all-female Italian theatre of the 1950... more This chapter concludes the volume, exploring the legacy of all-female Italian theatre of the 1950s and 1960s and its influence on the young women who performed in it. It points out several characteristics of Catholic all-women theatre of the post-war years that would remain in Italian feminist theatre of the 1970s. Finally, it highlights the experience of communal enjoyment, learning and freedom that young women growing up in the post-war years acquired through educational theatre.
Italica, 1995
... 2Contemporary women's revisions of the Oresteia centered on the character of... more ... 2Contemporary women's revisions of the Oresteia centered on the character of Clytemnestra include Maria-Josep Ragu6 i Arias's Clitemnestra and ... 3Maraini's interest in Aeschylus's trilogy emerged in her review of Ronconi's staging of the Oresteia in July*1973 (Fare teatro 238 ...
Italian Culture, 1997
Die mikroskopische Struktur des Brotes wurde bis jetzt sehr wenig studiert. Es scheint uns daher ... more Die mikroskopische Struktur des Brotes wurde bis jetzt sehr wenig studiert. Es scheint uns daher nicht überflüssig, eine kurze Beschreibung derselben zu geben, bevor wir zur Untersuchung ihrer Änderungen beim Altbackenwerden übergehen. Wir werden uns in dieser Abhandlung auf die Untersuchung von Weißbrot (Weizenbrot) beschränken. Am leichtesten orientiert man sich, wenn man ein Stückchen Krume von Weizenbrot mit der Pinzette abpflückt und es auf einem Objektträger in einem Tropfen Wasser, unter leichtem Druck mit dem Deckgläschen, ausbreitet. Man sieht eine durchscheinende Masse, die in allen Richtungen durchkreuzt wird von stärker lichtbrechenden Streifen, die zu dünneren oder dickeren Bündeln vereinigt sind. Stärkekörner zeichnen sich im frischbackenen Brot so gut wie gar nicht ab. Nur an den Rändern des Präparates finden sich dünnere Stellen, wo die Struktur deutlicher ist. Viel besser kann man diese studieren, wenn man unter den Wänden der Brotalveolen eine sehr dünne, durchscheinende aussucht, sie mit der Pinzette vorsichtig abhebt und in einem Tropfen Wasser ausbreitet (diesesmal ohne mit dem Deckgläschen zu drücken). Die dünnsten Stellen der Brotlamelle sind dann meist nur zwei oder drei Schichten Stärkekörner dick; macht man etwa zehn solcher Präparate, so findet man leicht eines, in dem eine Stelle nur eine bis zwei Schichten
Most of the academic articles that look at the development of 20th century Italian women's th... more Most of the academic articles that look at the development of 20th century Italian women's theatre begin with a discussion of the dramatic works of narrators such as Natalia Ginzburg and Dacia Maraini, or performers such as Franca Valeri and Franca Rame. In this article, I claim that an alternative path for the discovery of Italian women playwrights can be found by visiting libraries and archives and looking for women dramatists as authors of theatrical genres often considered minor: radio dramas and the educational plays. After an analysis of the two genres, I look at the careers of three women playwrights that started as writers for radio or educational plays and went on to have successful careers in TV adaptations (Anna Luisa Meneghini), children's theatre (Gici Ganzini Granata) and the major theatre (Clotilde Masci).
This book recovers the nearly forgotten tradition of educational plays for women, their authors a... more This book recovers the nearly forgotten tradition of educational plays for women, their authors and main genres, connecting them to the social issues affecting Italian women between 1946 and the mid-1960s. The introductory chapter describes the historical background of the years between the end of Fascism and the beginning of the economic miracle, the need for all-women theatre, the moral content of the plays, as well as the Catholic environment of the oratory in which Italian women’s educational theatre flourished.
This chapter looks at plays written by Salesian sisters after the end of World War II, published ... more This chapter looks at plays written by Salesian sisters after the end of World War II, published as individual works or as part of an anthology in other Salesian publishing ventures but not in Teatro delle giovani. In addition to comedies, missionary works and melodramas, these other plays include two genres that did not find much space in Teatro delle giovani: marriage plays (in which romantic love was part of the plot) and morality plays (with angels and devils battling for a young woman’s soul). Works discussed include marriage plays by Flora Fornara and morality plays by Caterina Pesci. The chapter ends with a brief summary of the later magazine Da mihi animas and of the development of Salesian theatre after the mid-1960s.
This chapter presents the various genres of plays published in Teatro delle giovani, beginning wi... more This chapter presents the various genres of plays published in Teatro delle giovani, beginning with the very popular conversion plots, then ranging from historical and ideological works and melodramas to mysteries and comedies, ending finally with the magazine’s most representative genre: biblical stories and the lives of the saints. Among the many plays published in Teatro delle giovani, this chapter highlights in particular those written by the two most prolific and successful Salesian women playwrights, Flora Fornara (1902–71) and Caterina Pesci (1906–70), analysing in greater detail Fornara’s La villa del mistero (The mystery villa, 1951) and Pesci’s Lei, la prima (She, the first, 1951) and Per te, mamma! (For you, Mum!, 1961).
The significance of arranged marriages in Papua New Guinea is highlighted. Marriage is considered... more The significance of arranged marriages in Papua New Guinea is highlighted. Marriage is considered to be a link between communities besides promoting a service and continuity within the community.
This chapter considers other minor magazines and publishing companies that produced all-women mel... more This chapter considers other minor magazines and publishing companies that produced all-women melodramas, lives of the saints, gialli and comedies, some so successful that they would be reprinted well into the 1970s. In particular, the theatre magazine Boccascena (1936–57) and the publishing company Serafino Majocchi, although both Catholic inspired, provided venues for those all-women plays that would not have been welcome elsewhere, either for their melodramatic content, adult situations, evil and violent characters, or lack of a specific educational message. The chapter concludes with a brief look at the development of educational theatre after the mid-1960s.
This article analyses Giuliano Montaldo's 1987 film adaptation of Giorgio Bassani's Gli o... more This article analyses Giuliano Montaldo's 1987 film adaptation of Giorgio Bassani's Gli occhiali d'oro . It discusses the director's choice to move the events to 1938 (when the bulk of the racial laws was made public), to strengthen the character of the narrator (Davide Lattes in the film), and to make him protagonist of his own ill-fated love story – a love story which parallels the novel's relationship between Dr. Athos Fadigati and Eraldo Deliliers. The article further argues, however, that Montaldo's portrayal of the episodes of discrimination, his description of the solidarity between Davide and Fadigati, and his characterization of other minor characters, did not result in a condemnation of the crimes committed during the Fascist era against homosexuals and Jews, but instead reflected Italy's uneasy conscience with regard to its responsibility in their persecution.
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Papers by Daniela Cavallaro