The Italian Drama


Book Description




Italian drama


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From Scratch


Book Description

Now a limited Netflix series starring Zoe Saldana! This Reese Witherspoon Book Club Pick and New York Times bestseller is “a captivating story of love lost and found” (Kirkus Reviews) set in the lush Sicilian countryside, where one woman discovers the healing powers of food, family, and unexpected grace in her darkest hours. It was love at first sight when actress Tembi met professional chef, Saro, on a street in Florence. There was just one problem: Saro’s traditional Sicilian family did not approve of his marrying a black American woman. However, the couple, heartbroken but undeterred, forged on. They built a happy life in Los Angeles, with fulfilling careers, deep friendships, and the love of their lives: a baby girl they adopted at birth. Eventually, they reconciled with Saro’s family just as he faced a formidable cancer that would consume all their dreams. From Scratch chronicles three summers Tembi spends in Sicily with her daughter, Zoela, as she begins to piece together a life without her husband in his tiny hometown hamlet of farmers. Where once Tembi was estranged from Saro’s family, now she finds solace and nourishment—literally and spiritually—at her mother-in-law’s table. In the Sicilian countryside, she discovers the healing gifts of simple fresh food, the embrace of a close knit community, and timeless traditions and wisdom that light a path forward. All along the way she reflects on her and Saro’s romance—an incredible love story that leaps off the pages. In Sicily, it is said that every story begins with a marriage or a death—in Tembi Locke’s case, it is both. “Locke’s raw and heartfelt memoir will uplift readers suffering from the loss of their own loved ones” (Publishers Weekly), but her story is also about love, finding a home, and chasing flavor as an act of remembrance. From Scratch is for anyone who has dared to reach for big love, fought for what mattered most, and those who needed a powerful reminder that life is...delicious.




Twentieth-century Italian Drama: The first fifty years


Book Description

This volume of Twentieth-Century Italian Drama covers the period spanning from the end of the nineteenth century to that immediately following World War II, displaying the rich breadth of Italian theater in the modern age, from the comedic legacy carried on by such writers as Eduardo De Filippo to the delicate tragedy of playwrights like Federigo Tozzi.Included are seven full-length plays, five one-act plays, one variety sketch, and three futurist sintesi (sketches). Brief introductions preceding each play contextualize the piece within the various movements in Italian theater, and biographies of the editors and translators appear at the end of the volume. An extensive bibliography offers many suggestions for further reading in English.The playwrights included are Gabriele D'Annunzio, Filippo Tommaso Marinetti, Ettore Petrolini, Raffaele Viviani, Pier Maria Rosso di San Secondo, Federigo Tozzi, Massimo Bontempelli, Achille Campanile, Italo Svevo, Luigi Pirandello, Eduardo De Filippo, and Ugo Betti.













The Contemporary Drama of Italy


Book Description

Excerpt from The Contemporary Drama of Italy The Contemporary Drama of Italy has hitherto been known to the English-speaking public through the work of comparatively few dramatists. This history hopes to show these writers in their chronological and literary background and to introduce other dramatists who deserve to be known. If it succeeds in planting or stimulating interest in the Italian Drama, if it gives an impulse, however slight, to that movement for mutual understanding which is gaining headway in Italy and America, then it shall have more than fulfilled its function. An apology, is necessary for the uncertainties in the dating of premieres and first printing of plays. There is no single source for such data and authorities differ so that confusion prevails. For completeness and certainty a prolonged investigation on the ground would be necessary, a search through journals and records not accessible on this side of the Atlantic. This would be a labor of years and really lies outside the field of the present study. Wherever possible the dates have been verified, but unfortunately the material in American libraries is far from complete. The author must bear the blame, however, for any flagrant mistakes. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




Women, Rhetoric, and Drama in Early Modern Italy


Book Description

Sixteenth-century Italy witnessed the rebirth of comedy, tragedy, and tragicomedy in the pastoral mode. Traditionally, we think of comedy and tragedy as remakes of ancient models, and tragicomedy alone as the invention of the moderns. Women, Rhetoric, and Drama in Early Modern Italy suggests that all three genres were, in fact, remarkably new, if dramatists’ intriguingly sympathetic portrayals of and sustained investment in women as vibrant and dynamic characters of the early modern stage are taken into account. This study examines the role of rhetoric and gender in early modern Italian drama, in itself and in order to explore its complex interrelationship with the rise of women writers and the role women played in Italian culture and society, while at the same time demonstrating just how closely intertwined history, culture, and dramatic writing are. Author Alexandra Coller focuses on the scripted/erudite plays of the sixteenth and first half of the seventeenth centuries, which, she argues, are indispensable for a balanced view of the history of drama and its place within contemporary literary and women’s studies. As this book reveals, the ascendancy of comedy, tragedy, and tragicomedy in the vernacular seems to have been not only inextricably linked to but also dependent on the rise of women as prominent stage characters and, eventually, as authors in their own right.