Il Tricolore alla ribalta. Teatro drammatico e politica nel Risorgimento tra Italia e Francia.

My doctoral dissertation analyzes the important role of Italian theatre in contributing to shape feeling of national identity during Risorgimento. In order to understand how this art form played such patriotic role I focussed my analysis on some specific episodes and typical phenomena of the Italian theatre in the 19th century in Milan, Bologna and Paris, specifically from 1830 to 1859. My research was based on a wide variety of sources, from the local press, to memoirs, private correspondence, archival documents and “theatrical sources”, like pièces, repertoires, posters, and theatrical collection. This dissertation is divided into five chapters, each of which have been structured thematically, while also providing a cultural and political chronology of historical events. The first part of the thesis (chapters 1, 2, 3) is devoted to the evolution of the Italian’s theatrical landscape. Describing the scenarios in Milan and Bologna respectively, I have investigated the topics of reception, the public and entertainment proposal, and how those were connected to the political climate of both cities. I placed the emphasis on the public, reception, entertainment proposal and on their connections with the political climate. Through the analysis of the repertoires, performances and theoretical reflections my aim has been to understand how an art form that was going through a crisis, was nevertheless able to have a relevant political influence during those years. I have also reconstructed three little known teatranti-patrioti’s biographies: Agamennone Zappoli, Giuseppe Moncalvo e Savino Savini, whom believed among others in the positive effects of theatre in terms of building a unified national identity. The fourth chapter is dedicated to lungo quarantotto, when finally, the nationalism movement came out in the wider theatrical landscape, with several famous tragedians joining the cause. I have then analysed various factors leading to the sudden widespread success of such patriotic feelings, focussing especially on the influence of various theatrical works by Zappoli, Moncalvo and Savini, as well as on the important function of the stage as a physical space of union. It is also fair to say that during those years, the theatre became a powerful tool to communicate and tell current affairs in Italy. In the 5th chapter, the main focus of the thesis moves to the 50s in Paris, with a closer look to Adelaide Ristori company’s famous tournées. By reading and analysing some periodicals of this time, I explained how a mainly non-Italian speaking public could embrace diverse topics and acting styles, despite some difficulties in understanding those completely. Three less-known works especially (Camma by Giuseppe Montanelli, Giuditta by Paolo Giacometti, and Cassandra by Antonio Somma) played a pivotal role in terms of introducing the French public not only to the Italian theatrical production, but also to a specific representation of Italy through the theatrical works.