Articles by: N. L.

In 2013 America discovers Italy... going deeper, getting to know the thousands of things it doesn't know yet, thanks to the year of Italian culture. A journey, under the auspices of The President of the Italian Republic, the Ministry of Foreign Affairs and the Embassy of Italy in Washington DC, with the goal to “communicate and promote our country, engage and enthuse Americans, strengthen the bonds that unite us and create new ones. A journey that will reveal today’s Italy, its brilliance and its excellence anchored in the present and driven by an unparalleled past, it will present an Italy of innovation moving forward, engaged in projects and looking ahead.”


Every day there are new and exciting initiatives, and all classic art lovers are really going to enjoy this one. The celebrated over-life-size bronze statue Boxer at Rest (also known as the Boxer of Quirinal )—an exceptionally realistic ancient Greek sculpture created between the late fourth and the second century B.C., on loan from the Museo Nazionale Romano - Palazzo Massimo alle Terme, is shown outside Europe for the first time in The Boxer: An Ancient Masterpiece, a special presentation at The Metropolitan Museum of Art, beginning Saturday, June 1. This extraordinary work will be on view for six weeks only.

The exhibition is organized by The Metropolitan Museum of Art in collaboration with the Italian Ministry of Foreign Affairs, the Ministero per i Beni e le Attività Culturali, and the Museo Nazionale Romano - Palazzo Massimo alle Terme. Support is provided by Eni, the main sponsor of the exhibition.


The loaning museum, the Museo Nazionale Romano, was established at the end of the 19th century. It houses countless archaeological finds unearthed in Rome. The need for larger and more fitting locations to host the museum’s collection led to the creation of a group of new museums around the city: Palazzo Massimo alle Terme, Palazzo Altemps, and Crypta Balbi. Built at the end of the 19th century, the Palazzo Massimo was purchased by the Italian State in 1981 to house the Museo Nazionale Romano’s collection of ancient art, coinage, and jewelry. The evolution of Roman artistic culture from the Late Republican Age through Late Antiquity (second century B.C.–fifth century A.D.) is shown through the beauty and magnificence of the collections on display on four floors. The museum houses celebrated masterpieces of statuary, of which the bronze statue Boxer at Rest is a superb example, as well as polychrome mosaics and precious engraved gems; exceptional frescoes from the Villa of Livia and the Villa della Farnesina; and an impressive numismatic collection.


The Boxer at Rest was excavated in Rome in 1885 on the south slope of the Quirinal Hill near the ancient Baths of Constantine, where it is thought to have been displayed. The sculpture was buried intentionally in late antiquity, possibly to preserve it against the barbarian invasions that ravaged Rome in the fifth century A.D. The broad-shouldered, lanky pugilist is shown seated, resting after a match. His gloves—which are highly detailed—identify him as a boxer. Those gloves  - Caestus - were made with leather strips and sometimes filled with iron plates or fitted with blades or spikes.




The athlete’s many head wounds are consistent with ancient boxing techniques, in which the head was the main target. The copper inlays, indicating blood, heighten the effect. The boxer’s right eye is swollen, his nose is broken, and he breathes through his mouth, probably because his nostrils are blocked by blood. His scarred lips are sunken, suggesting missing teeth. The ears, swollen from blows, indicate possible hearing loss. Drops of blood from the wounds on his head have trickled down his right arm and leg. Wear on the foot and hands suggests that they were touched frequently in antiquity, possibly in veneration.


Because the iconography is related to statues of Herakles sculpted by Lysippos in the fourth century B.C., the Boxer at Rest may have been meant to celebrate a mythical—or real—boxer, who was glorified for his endurance and courage. Scholars have long debated the date of the statue, placing it anywhere from the middle of the fourth century B.C. to the middle of the first century B.C. The sculpture is an exceptional work in bronze from the Hellenistic period (323–31 B.C.) and is of outstanding artistry. 

“We are proud to host The Boxer at Rest, a special loan made possible by the Republic of Italy,” commented Thomas P. Campbell, Director and CEO of the Metropolitan Museum. “More than 2,000 years have passed since this virtuoso work of art was created, yet the powerful realism of its subject continues to captivate viewers today. The privilege to display this marvelous statue in the United States for the first time—and in the context of the Met’s exceptional collection—is a particular honor. We encourage our visitors not to miss this exciting opportunity.”

“Viewing one of the most stunning statues from antiquity is truly a singular opportunity,” said Italy’s Ambassador to the U.S., Claudio Bisogniero. “The Boxer is a masterpiece and its exhibition at the prestigious Met speaks volumes about the success of the Year of Italian Culture in the United States and how the more than 200 programmed events are contributing to expanding and deepening the relations between Italy and the U.S.”

“At Eni, culture means ‘relationships.’ Through culture, in Italy and all over the world, we create links with the territories in which we operate,” stated Paolo Scaroni, Chief Executive Officer, Eni S.p.A. “We are inextricably linked with the U.S.A., both as a country and as a company. This is true historically, due to the role played by America in Europe, and in Italy, in the 20th century. It is also true in terms of our current relationships, with some of the most important organizations in the United States, across the fields of the arts, industry, and research. The Metropolitan Museum of Art is certainly one of the institutions that best reflects the American passion for culture, with its immeasurable artistic endowment spanning every era and every corner of the globe. Through The Boxer: An Ancient Masterpiece, we hope you will feel as if we have brought a piece of Italy within these prestigious walls.”

The Boxer at Rest is located in the Mary and Michael Jaharis Gallery, Greek and Roman Galleries



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In recent years it might have appeared a passing fashion, but now it has become a consolidated and growing trend in the US: fruit and vegetables are increasingly becoming the protagonists of all kinds of dishes.

This is confirmed by the results of a survey carried out by the National Restaurant Association involving 1,800 chefs, which demonstrates that consumers in the USA have become more aware that a diet rich in fruit and vegetable products is healthier and more balanced.

In this context, we must mention European Flavors, an ongoing project in which the public and private sectors – in this case the European Union, Italy and the members of the CSO fruit & vegetable service center – join forces to promote consumption in four major markets. Namely Russia, Japan, Canada and, naturally, the USA.

“It is a project that aims to promote the extraordinary flavors and characteristics of fruit and vegetables produced based on the best European traditions, thanks also to a fertile and generous soil.

As suggested also by the Mediterranean diet, they are amongst the basic components of a rich and healthy diet. Eating 400g of fruit and vegetables a day helps keep us in shape and protects us from many diseases. The level of protection is proportional to the quantity consumed; the more fruit and vegetables we eat, the better protected we are. Even small increases in the amounts consumed can bring significant health benefits. Many types of fruit and vegetables are fat-free, rich in fiber and above all, contain over 100 natural components that together guarantee exceptional results in terms of health, longevity, beauty and performance.” (European Health Network)

The European fresh fruit and vegetable products promoted by the European Flavors project – including kiwis, apples, nectarines, pears, plums, chicory and Sicilian blood oranges, and also processed products such as tomato sauce or orange juice – are an attractive option for US consumers. This is confirmed by the positive export figures of Italian fruit and vegetables to the USA, which over the last 3 years have risen to 18 thousand tons, a turnover of 20 million Euros.

This trend is a further demonstration of the fact that – compared to 10 years ago – restaurant customers now demand significantly more (and more sophisticated) fruit and vegetable products. This forces chefs to react by creating dishes that cater to the desire to eat healthier food containing ingredients produced while respecting both traditional methods and the environment. Before ordering a dish, consumers want to know the 'curriculum' of its main ingredients: geographical origin, productive processes and nutritional properties. All of which are guaranteed in the case of European produce, thanks to the efficient compulsory checking and traceability system applied to the entire productive process.

“The high quality of our fruit and vegetables and the awareness of the severity of European sector regulations are both important factors in sustaining our continent's exports, and particularly those from Italy,” Simona Rubbi, the CSO Project Director, said in the past, “Indeed, Italian produce leads in almost all fruit & vegetable segments, a standard-bearer for "Made in Italy" quality. We certainly benefit from the sense of security that our production protocols give consumers, but let's not forget the other indispensable ingredient of our success: as well as being healthy, Italian products are also delicious.”

European Flavors just took part of the Winter Fancy Food Show in San Francisco where visitors were able to see and taste for themselves the flavors and the quality of fruit and vegetable products grown in Europe, through detailed information on productive processes and through mouth-watering tasting opportunities. The booth featured a vast range of tomato-based products, tinned vegetables, such as peas and French beans, and fruit juices, all carefully selected and processed to conserve their fresh and vivid flavor. With 1,300 exhibitors from over 35 countries and 17,000 visitors, the Winter Fancy Food Show is an annual event that offers a global gastronomic shop-window, the perfect place to promote a Mediterranean diet and the consumption of fruit & vegetables from the EU. European Flavors is indeed very active in promoting itself and participating in several key events to be known on international markets.

The official partners of the European Flavors project are: Alegra, Apofruit, Conserve Italia, Consorzio Kiwi Gold, Lagnasco Group, Naturitalia, Mazzoni, kiwi Sole Latina ,O. P. Granfrutta Zani, Veneto Organizzazione Produttori Ortofrutticoli, Oranfrizer Sicilian Orange Experience, Orogel Fresco, Pempacorer, Salvi and Made in Blue.

Bari, summer of 1946. The war has ended but there are no signs of peace between Paolo (Dino Abbrescia) and Luigi (Totò Onnis). Having suffered a superficial wound in Abyssinia, Paolo hopes to receive his pension from the trade unions. Luigi reminds him of his Fascist past. Their discussion becomes heated when Paolo loses at cards yet again. His little boy Antonio (Andrea Montani) watches his father’s humiliation in silence. With the money his mother gave him to buy lunch, he buys a toy gun and together with his little brothers he returns home to give the gun to the father, so he can revenge himself. 

This is the storyline of Uerra (War), a short film directed by Paolo Sassanelli, acclaimed theater, cinema and television actor mostly known for his roles in Un Medico in Famiglia and Compagni di Scuola.
 

Sassanelli, who was born in Bari in 1958, has also worked in cinema under the direction of the likes of Matteo Garrone, Giuseppe Piccioni, Silvio Soldini, Cristina Comencini and Gianni Zanasi. He was co-writer of the film "Rosso come il cielo" by Cristiano Bortone. He directed four plays and is preparing to direct his first feature length film.

“I based my story,” Sassanelli, who also co-wrote the screenplay with Antonella Gaeta, explained, “on the numerous stories of humanity told by my grandparents. This description of the aftermath of World War II in Southern Italy is something all  Italians have in common in the memories of our families. This reminds us of who we are and where we come from. My teacher always used to say: 'If you are able to portray the poetry of life and move people with one simple gesture, what you do is worthwhile!' That is what I tried to do.”

And he succeeded in doing so: this delightful 16 minute long comedy that revolves around a father and his three sons, who take dad's war stories a little too much to heart, transports you to a different era and makes you smile at the tough topic of war.

The film was presented at Iron Mule, a short comedy screening series presented at 92Y Tribeca.
 

Iron Mule is a monthly short comedy film festival born in Chicago City Limits, new York City's legendary Improv Theater. It has been running since April 2002, screening the best in short comedy films from around the world. Films that premiered at the festival have gone on to Comedy Central, HBO, Cinemax, PBS and the Sundance Channel. They have also been exhibited at the US Comedy Arts Festival and at the Sundance Film festival. 

“We hope to get more Italian films in the upcoming editions,” show producer and host Jay Stern said, “we welcome comedies coming from all over. We love to laugh.”

The series is a competition and although Uerra did not win the first prize, First Mate by Connor Byrne did, it is indeed victorious: its subtle humor, stunning locations, vivid photography and natural acting captured the hearts of the judges and the audience.

Translating humor is not easy but Uerra did it impeccably.

Novelist, scriptwriter, journalist, dramatist and film critic: Ennio Flaiano was an intellectual whose literary and journalistic endeavors shaped the course of Italian postwar cinema. Flaiano signed no less than 58 screenplays and collaborated on scores of other film projects with directors like Blasetti, Fellini, Antonioni, Wilder, Berlanga and Malle just to name a few. He is best known for his pivotal contributions to Fellini’s masterpieces I Vitelloni, 8 ½, and La Dolce Vita.

Flaiano died in November of 1972 and the celebrations of the anniversary of his death have already started. The Origin Theater Company in association with Casa Italiana Zerilli Marimò and Kairos Italy Theater presented a one-act play, The Woman in the Wardrobe featuring actors Tom O’Keefe (the Poet), Rocco Sisto (the Chief of Police), Carlo Giuliano (a Policeman) and Rosemary Fine (the Maidservant).

Directed by Laura Caparrotti of Kairos Italy Theater and translated by Marisa Trubiano, this absurd and ironic story, written for “simple, deplorable entertainment,” tells us about a poet and his hidden secret.

“The Woman in the Wardrobe is brief yet exceptionally powerful,” Laura Caparrotti explained. “How many of us had to deal with the absurdity of meaningless and never ending bureaucracy? Historically, Marisa has told me, with this piece Flaiano was mocking Fascist bureaucracy. The way I see it, especially after having read all the writer’s notes on the characters (i.e. the notes say of the Inspector that ‘he ponders with intensity’ or ‘he meditates’ yet it is obvious that he is not doing that at all and actually the author is mocking his behavior), I find in it, once again, a portrait of the society I live in. Flaiano is a friend, someone who is always there to tell me ‘I understand.’” 

The casting was, in addition to the writing, what made this play so wonderful to watch. “When I first read it,” Caparrotti said, “I immediately saw in my mind Rocco Sisto playing the Inspector and Tom O'Keefe in the role of the Poet. They are wonderful actor who are always willing to play and have fun. Working with them was easy because they immediately understood the spirit of the text.”

It has been years now, at least ten, that Kairos Italy Theater has focused its attention on Flaiano. It all started with public readings, in Italian, of his books and plays. Then Laura Caparrotti met Marisa Trubiano, Assistant Professor of Italian at Montclair State University and the Flaiano in the US, and the collaboration began. 

In 2002 and 2004 the company brought to the stage The Papaleo Case (a satirical one-act play about the absurdly funny resurrection of a self-absorbed writer and the demise of his illusions) performed, by two separate casts, both in English and in Italian. The piece was translated by Marisa herself. More readings were performed through the following years and now it is time for The Woman in the Wardrobe. 

We were able to reach Marisa Trubiano for a short interview. In 2010 Marisa penned Ennio Flaiano and His Italy: Postcards from a Changing World, a book that “identifies the ways in which Flaiano's distinctive travel diary 'satirically registering the transformative journey from provincial Italian to global citizen' captured and shaped the changing tastes of an entire generation of Italians on the film set, in the newspaper office and on the street. The book highlights Flaiano's uneven yet steadily developing anticolonialist stance, his emerging postmodern autobiography, and his interrogation of notions of regional, national and cultural superiority.”

We talked a bit about her work on The Woman in the Wardrobe. 

When did you first hear about Flaiano and what captured your attention?

I first heard about Flaiano while vacationing in Pescara many years ago. The annual Premi Internazionali Flaiano organized by the Associazione Culturale Ennio Flaiano in collaboration with the Ministero degli Esteri were being publicized, and when I asked about this author, a cousin of mine recommended that I read his novel A Time to Kill. The more I read about Flaiano, the more interesting I found his work and I decided to focus my PhD dissertation research and then a book (published in 2010 by Fairleigh Dickinson University Press) on it.

How is Flaiano perceived in the US and in Italy? Does he get the attention he deserves?

My impression continues to be that in Italy, Flaiano's work for the cinema has always been noted and appreciated, mostly due to his long working relationship with Federico Fellini. If in the U.S. he is known at all, it is almost exclusively for that. In Italy, he is often reduced to a sarcastic and witty figure, known for his caustic epigrams that illustrated a great -- and often antagonistic -- intelligence. Instead, a real description of Flaiano should acknowledge how versatile, forward-thinking, insightful, and perfectly relevant he was -- and still is -- as a writer working with a number of genres. In recent years, thanks to the work of the Associazione Flaiano, the Fondo Flaiano of the Biblioteca Cantonale in Lugano, and publications by Sergiacomo, Natalini, Fracassa, and others (and here, I'd like to thank Laura Caparrotti and Kairos for bringing Flaiano in very tangible ways to an English-speaking theater audience), Flaiano is gaining more of the attention his whole oeuvre deserves.

Why did you choose the Woman in the Wardrobe to celebrate his anniversary?

I am currently working on the translation of all of Flaiano's comedies. Years ago, again thanks to Laura and Kairos, The Papaleo Case was preformed in New York and Montclair. It was Laura who chose The Woman in the Wardrobe to commemorate the 40th anniversary of Flaiano's death. I think this farse is particularly relevant these days, as our modern lives become more and more embroiled in the details of modern life, and we are losing sight of the bigger picture of the real issues -- even real crimes, for example -- being perpetrated.

What are the challenges of translating his work?

The challenge in translating Flaiano is precisely translating the humor -- one of the hardest things to do as a translator and, quite frankly, something that I am still learning to do! -- and specific cultural referents for a non-Italian audience. It was quite an honor to hear such accomplished actors read my translation in English of La donna nell'armadio. Hearing the comedy in English come alive, understanding even better the rhythm of the dialogue, among other things, was an incredible experience. I am even more convinced that this project is truly worth pursuing and bringing to a larger audience.