ROME - On the occasion of Franca Valeri's 100th anniversary, Edizioni La Tartaruga have just sent the volume `` All comedies '' (pp. 672 - 22.00 euros) to the bookstore , with a preface by Lella Costa and a critical note final by Patrizia Zappa Mulas. A gift for her audience, with some of the 12 previously unpublished texts and, in closing, many hilarious, surprising sketches, all the more precious now that she has disappeared.
A female theater like few others and starting from the early sixties, with that `` The catacombs '' that reverses the roles of the pochade, giving the part of the fool and vain to a man, to arrive at 2014 with `` Il Cambio di cavalli '' on the relationship between generations in a game of strength and weakness of the parts starring an old, ironic and refined lady. Franca Valeri begins acting when she is not yet 30 years old, she stops when she is 95. So it is the work of over 60 years of a woman who was the first, and alone (Changing her surname Norsa, because the family did not want her 'actress, with Valeri in homage to Paul Valery), manages to tell the tragic and ridiculous transformation of the woman in a society that goes from the post-war recovery to the most recent disappointments, making her the protagonist.
'' This cultured girl of the Milanese bourgeoisie seems to know better than a daughter of art that the most terrible things can be said only on condition that you say them well, with the right rhythm and tone '', notes Zappa Mulas, who quotes Dorothy Parker, but with a more external and less painful look. With the passage of time those texts (and even the sketches) have not lost their bite, they have not almost aged.
For years, Valeri suffered from being cited only as the author of Signorina Snob, Cesira and Cecioni, and she struggled to be recognized as a quality playwright with her observer eye that investigates the Milanese bourgeoisie as well as the Roman people. He therefore plays with models experimented with in `` Tosca and other two '', figures, the latter, who acquire importance while living not at the center of the scene, but in a porter's lodge, one Roman and the other Milanese with a nice comic comparison between the two inflections, but it is with "Sorelle, ma solo due" that he offers us a domestic interior and a game of verbal massacre, less effective and more intense. '' All the women of Franca Valeri - emphasizes Zappa Mulas - have something in common, they are never harmless, they all lack good-naturedness and meekness. When they are submissive with others ('' A happy wife '') they rage against themselves, just to rage against someone. What always supports them is self-delusion, which is the sad face of inventiveness.
They talk a lot to avoid thinking. It would be enough for them to stop for a moment and all our pleasure would vanish. '' And one cannot but agree with her when she concludes by stating: '' In her theater from the 1950s to the 2000s, we discover how that protracted and unprepared Italy behind us definitely threatened to become the Italy that lies ahead of us ''.