L'Italo-Americano

THURSDAY, AUGUST 6, 2026 www.italoamericano.org L'Italo-Americano 2 I taly has one of Euro- pe's oldest theatrical traditions. During the Renaissance, theater underwent an impor- tant flowering that led to the birth of Commedia dell'Arte, which later became famous throughout Europe. It relied above all on actors' improvisa- tion: they began with a scena- rio and created the dialogue during the performance, in a popular form of theater that engaged the audience by adapting each time to local moods and events. Harlequin and Pantalone, whom we know as somewhat old-fashioned Carnival masks, though today they have clearly been displaced by superheroes and cartoon prin- cesses, were essential vehicles of satire and social commen- tary. Actors could criticize society's vices and failings without attacking specific people: Harlequin represented the clever, hungry servant, Pantalone the old, rich, miserly merchant, two among the many types of people and social groups at which a finger could be pointed. Through comedy or surreal situations, theater could mock the arrogance of the powerful, the greed of the rich, the ignorance of the masses, and social injustice. A piece of Italian culture takes the stage From the Editor Then, in the first half of the 18th century, Carlo Goldoni replaced improvisation with written scripts and created more realistic, psychologically complex characters capable of representing the daily lives of the middle and working clas- ses. Tragedy developed alongside comedy and found its grea- test interpreter in Vittorio Alfieri. His works marked a tur- ning point in Italian dramatic literature, with protagonists driven by a powerful desire for freedom and a profound sense of personal dignity. His characters fight tyranny and absolute power, sacrificing their lives to defend noble ideals. These themes reflected the cultural climate of the period and ultimately anticipated many of the values that would come to define Romanticism and the Risorgimento. As the 18th century gave way to the 19th, theater was dee- ply affected by political events. The Napoleonic campaigns and the spread of French revolutionary ideas brought new ideals of equality, freedom, and civic participation to Italy, to the point that governments often tried to control theatrical activity through censorship, well aware of theater's ability to influence public opinion. During this period, however, the number of public theaters attended by the aristocracy as well as the emerging middle class increased. Audiences grew lar- ger and more diverse, influencing the tastes of playwrights and theater managers. It is within this context that we can understand the condominio theaters UNESCO has just reco- gnized. At a time when cinema, radio, and television did not yet exist, performances became one of the most widespread forms of entertainment, but also one of the most intense forums for exchange, where emotional impulses and social ideals met. People themselves wanted these theaters, so much so that they joined forces to build them. Reflecting the political and cultural changes of the time, many operas, especially during the Risorgimento, began to convey principles of freedom, national unity, and patriotism. In this sense, theater was not merely entertainment, but an instrument of education, collective participation, and social awareness. Having a theater, even in a provincial town, could prove decisive, a true engine of change: it offered a community that might otherwise have remained closed in on itself a place to meet, socialize, exchange views, and grow. In a provincial town, the theater was often the only gateway to major new developments, a place to encounter new ideas, address social issues, develop a critical spirit, strengthen community identity, create relationships, and stimulate local development. It made citizens feel like protagonists in their community, capable of taking their lives into their own hands amid the changes of the time. It encouraged public debate about ideas that were often highly revolutionary: freedom, independence from foreign rule, and a sense of belonging to a single nation. Many operas, particularly those of Giuseppe Verdi, were interpreted by audiences as a call for Italy's unity and liberation, even when the political message was expressed symbolically to avoid censorship. Of course, we cannot forget that theaters were first and foremost instruments of culture, education, and a love of the arts. Melodrama, which combined music, singing, and stage action and involved audiences on a deeply emotional level, became the century's most popular form of entertainment thanks to the great opera composers. Gioachino Rossini with Il barbiere di Siviglia; Gaetano Donizetti with Lucia di Lam- mermoor and L'elisir d'amore; Vincenzo Bellini with Norma and La sonnambula; and Verdi with Rigoletto, La traviata, Aida, and Otello brought the genre to its fullest expression. After all, if the whole world celebrates their operas today, some of the credit also belongs to Italian theater, which first spread this powerful art form and then taught audiences to love it. Simone Schiavinato, Editor Simone Schiavinato NEWS & FEATURES TOP STORIES PEOPLE EVENTS Member of FUSIE (Federazione Unitaria Stampa Italianaall'Estero), COGITO L'Italo-Americano Please send correspondence to P.O. Box 40156 Pasadena CA 91114 www.italoamericano.org L'Italo-Americano Newspaper (a 501(c)(3) non- profit organization), www.italoamericano.org, is the largest and longest-running Italian news- paper in America, not to mention the cultural and news resource for all things Italian in the US. A bilingual newspaper which represents an historical landmark for the Italian American Communities in the West Coast and throughout the US. L'Italo-Americano benefits from subsidies by the Italian Government, Memberships and Donations intended to support and not interrupt a mission that began in 1908 to preserve and promote the Italian language and culture in the USA Periodicals postage paid at Monrovia, California 91016, and additional mailing offices. PUBLISHER Robert Barbera Grande Ufficiale EDITOR IN CHIEF Simone Schiavinato ADMINISTRATIVE MANAGER Patrick Abbate EDITORIAL COORDINATOR Barbara Minafra COPY EDITOR Francesca Bezzone LOS ANGELES CONTRIBUTOR Silvia Nittoli SAN FRANCISCO CONTRIBUTOR Serena Perfetto SEATTLE CONTRIBUTOR Rita Cipalla CONTRIBUTING WRITERS Mariella Radaelli, Matt Walker, Francesca Bezzone, Luca Ferrari, Stefano Carnevali, Paula Reynolds, Teresa Di Fresco Nicoletta Curradi, Generoso D'Agnese, Jessica S. Levy, Fabrizio Del Bimbo, Maria Gloria, Chuck Pecoraro, Anthony Di Renzo Serena Perfetto, Kenneth Scambray, Chiara D'Alessio, Luca Signorini, Giulia Franceschini © 2025 L'Italo-Americano Membership: One year $59 - Single copy $2.25 POSTMASTER: Send address changes to L'Italo Americano P.O. 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