L'Italo-Americano

THURSDAY, MARCH 6, 2025 www.italoamericano.org 10 L'Italo-Americano sweet humor of Verdone's c h a r a c t e r s . C o m e d y h a s always reflected the complex nature of Italian society, and many of its characters have left a legacy we still see at work in the new generations of comedians and filmmak- ers of today. A p o t e n t i a l U N E S C O recognition would solidify the importance of this tradi- t i o n , p l a c i n g i t a l o n g s i d e other national cultural trea- s u r e s t h a t h a v e b e e n acknowledged for their sig- nificance in shaping identity and artistic expression. For now, the idea remains in its preliminary phase: while the Fondazione Guido Carli has s h a r e d i t s p r o p o s a l w i t h Italy's Ministry of Culture, the official process of apply- ing for UNESCO recognition has yet to begin. Liuzzo has suggested that Italy could further support the candida- cy by establishing a Nation- al Good Humor Day to honor the great masters of c o m e d y a n d e n c o u r a g e reflection on their cultural contributions. S h o u l d I t a l i a n c o m e d y eventually receive UNESCO recognition, it would join other national cultural tradi- tions already honored, such Erikson, a British journalist who has lived in Italy for 60 years, pointed out in The T i m e s t h a t f i l m s l i k e D i v o r c e I t a l i a n S t y l e (1961) not only satirized but also contributed to shifts in legislation, such as the legal- ization of divorce in 1970. Similarly, Lando Buzzan- ca's portrayals of outdated macho attitudes in the 1960s and 1970s helped ridicule and ultimately reshape tradi- tional gender expectations. The reflection goes deep- e r , b e c a u s e t h e a b i l i t y o f humor to provoke thought and challenge societal struc- tures is a key element of its cultural importance, and it is not by chance that, through h i s t o r y , h u m o r h a s b e e n used as a tool to criticize authority, question social hierarchies, and push for reform in ways that tradi- tional discourse often could not achieve. T h i s a b i l i t y t o b l e n d humor with social critique is a h a l l m a r k o f I t a l i a n comedy, starting with the works of the Prince of laugh- ter Totò — who, with his s h a r p s a t i r e , f a m o u s l y attempted to sell the Trevi Fountain in Totòtruffa '62 — all the way to the bitter- as Sicilian puppet theater, the art of Neapolitan pizza- making, and opera. Italy's rich comedic heritage would be validated, but also pre- served for the generations still to come. Comedy, in all its forms, is a true unifying element of Italian culture, able to con- nect people through shared l a u g h t e r , w h i l e o f f e r i n g deeper reflections on life and society. By formally recogniz- ing it as an essential part of the nation's cultural heritage, UNESCO would be acknowl- edging its role in shaping both Italian identity and its broader influence on global comedic traditions. In times where uncertain- ty for the future and instabil- ity seem to rule, the ability to l a u g h a n d f i n d m e a n i n g through humor remains as vital as ever. As Verdone put it, "All the artists who have shined in comedy over the years have imparted a great lesson"— one that deserves to be safeguarded and cele- brated on a global stage. You can read the original a r t i c l e b y P h i l i p W i l l a n , w h i c h h a s i n s p i r e d a n d served as a major source to this one, on the February 25 edition of the London Times. i t a g e . S p e a k i n g t o T h e Times, he emphasized the importance of irony and levi- ty in today's world, describ- ing comedy as an "antidote to the bad news with which the media bombards peo- ple." His contributions to Italian cinema are widely recognized, and his comedic s t y l e , o f t e n c o m b i n i n g humor with social reflection, is considered to be a true continuation of the great tra- dition established by his pre- decessors. It is in this role of symbol a n d s u p p o r t e r o f I t a l i a n comedic art that Verdone is set to give a lecture titled Comicamente etici. Com'è cambiato l'umorismo dagli anni '80 ad oggi ("Ethically comedic: how humor has changed from the 1980s to today") at Luiss University this month: the event, sup- ported by the Fondazione Guido Carli, will explore the ethical and societal role of humor over the decades and will be attended by students, institutional representatives, and business leaders. Not only in Italy, comedy has historically played a role in challenging social norms and even influencing policy c h a n g e s . T o r q u i l D i c k - A new initiative is i n m o t i o n t o h a v e I t a l i a n c o m e d y r e c - o g n i z e d a s part of UNESCO's Intan- gible Cultural Heritage, a move that aims to celebrate a tradition deeply rooted in the country's artistic and social fabric. The idea, spearheaded by the Fondazione Guido Carli, has gained the sup- p o r t o f n o t a b l e f i g u r e s , including actor and director Carlo Verdone, and has b e e n p r e s e n t e d t o I t a l y ' s Minister of Culture, Alessan- dro Giuli. While still in its early stages, this initiative highlights the longstanding significance of Italian humor in shaping national identity and reflecting social change. Italian comedy has long functioned as a lens through which society views itself. As Romana Liuzzo, president o f t h e F o n d a z i o n e G u i d o Carli, explained, Italian com- edy "has not only amused but often unmasked injus- tices and abuses through wit a n d i r o n y , b e c o m i n g t h e voice of the weakest." The comedic tradition in the peninsula dates back to ancient Rome with the work of playwrights like Plautus, and has evolved over the cen- turies through various forms, from Commedia dell'Arte to the great cinematic works of the 20th century. Figures s u c h a s T o t ò , A l b e r t o Sordi, Massimo Troisi, a n d G i g i P r o i e t t i h a v e defined the landscape of Ital- ian comedy, creating charac- t e r s w i t h a l l t h e q u i r k s , strengths, and contradictions of the Italian people. Sordi, in particular, famously por- trayed the "average Italian" in a way that was both satiri- cal and endearing; as The T i m e s ' P h i l i p W i l l a n noted, Sordi's depiction of Italians as "scoundrels and often cowards, megalomani- acs and bounders" was seen b y a u d i e n c e s a s a w a y t o laugh at Italy's own stereo- types, but also as a comedic yet incisive critique of soci- etal norms. Beloved Roman actor and director Carlo Verdone is a key supporter of the poten- tial UNESCO candidature. Known for his ability to por- tray the Roman working- class' life, Verdone sees it as a way to preserve and pro- mote Italy's comedic her- LUCA SIGNORINI The iconic Alberto Sordi, symbol of Italian comedy, in Un Americano a Roma, 1954 (Screenshot of Un Americano a Roma, film by Steno (1954). Wikicommons/Public Domain) Italian comedy as UNESCO Heritage? Carlo Verdone says "yes"! LIFE PEOPLE PLACES EVENTS

• Cover