Carmelo Bene on Eugenio Montale and cinema in Italy

“Now, when we talk about a synthetic autobiography, which based on its not-being, on abandonment, on lack, cannot but let itself be drawn by the imaginary of this same reality, it means that Otranto was visited by a story that, including the massacre of the Turks, was and continues to be the cult (culture) of all the other stories that that historical event ousted “. Thus begins Carmelo Bene has narrate his life. Perhaps the only Italian anti-structuralist that I happened to meet. A literary encounter like his with Camus (“the first decisive encounter in my life. Albert Camus. Venice. La Fenice Theater. Exterior-day. A meeting in three times”). Carmelo Bene was this: apparent provocateur, highly cultivated intellectual and coherent with his being the object of an oppressive reality (“I have born”) he is remembered for his stages of television provocation, for the Pinocchio radio and television, for the crowd bath of the lectura danctis in Bologna on the anniversary of the massacre, for the concert-theater of Manfred sung / recited / not recited on the music of Camus, for the indefinable private life, for the continuous stripping of the woman’s body and the drama of Hamlet ( 1961, 1967, 1973, 1974, 1978, 1987, 1990, 1994, including a film version: One less hamlet, in 1973 and two television versions: Hamlet in 1978 but shot in ’74, Homelette for Hamlet, unqualifiable operetta from Shakespeare to Laforgue in 1990, a radio: Amelto, from Shakespeare to Laforgue, in 1974 and a record, recording of a performance-concert: Hamlet suite, concert show by Jules Laforgue, 1994. This is the list probably complete, without considering replicas and small variations.

English Carmelo Bene’s books: https://amzn.to/2OP8KtD

But his most important film remains “the essay in the form of a historical novel of my South of the South of the saints”: Nostra Signora dei Turchi, film winner of the Silver Lion in Venice in ’68, which then led him a few years later to conduct the Biennale.

Among the curiosities (from now on you will have understood if this author is for you) badly tolerated the official culture, above all the one he defined as Eusebio nazionale, Eugenio Montale, in reality linked them a beautiful friendship to what Antonio Giusti says, which he had invited them together to his villa: “Carmelo had become a bit boring with his constant acid criticisms of Montale. At that time he had made up his mind that the only true Italian poet was Dino Campana and that all others did not exist. One evening, to demonstrate Campana’s superiority, he also declaimed Ossi di Seppia’s verses, but with such skill that he left everyone speechless. We suspected that Carmelo knew all about Montale from memory and, to find out, we provoked him by quoting individual randomly chosen verses. With each attack Carmelo followed the entire poem by reciting it without emphasis and with his natural skill. In practice it contradicted itself, since the audience could not help but compare Campana with Montale unfavorably. From this episode it was deduced that Carmelo’s attitude towards Montale was nothing but a controversy aimed at provoking him “.

Other books by Bene: https://amzn.to/2rcos8P
The rediscovery of Bene is striking, perhaps one of the few Italian anti-structuralists; current and youth rediscovery: Carmelo Bene has become the protagonist of Meme, exegetical, satirical, comic or simply goliardic Facebook pages.

His works are traditionally found near Bompiani, from which however they are currently found only I appeared to the Madonna and Our Lady of the Turks. In fact, no Works have been reprinted. With the autograph of a portrait, Bompiani, 2002, the only source of his other romantic, theatrical and essay works. A collection wanted, first by Bene himself before his death: testimony that he wanted to be read also posthumously, as a writer, and not only as an actor, a role to which he has always been associated.
On the wave of the release in 2019 Speech on two feet (soccer) where sports, football, and athletic gesture dialogues with Enrico Ghezzi, but for another publishing house: the Nese di teseo, I get curious about the case and decide to write in Bompiani.

Other books by Bene: https://amzn.to/2rcos8P
Bompiani tells me that a reprint scheduled for now does not exist:
“Dear Gabriele,
we do not have reprints in anticipation, I’m sorry.
Sincerely”

Below the Amazon links of Carmelo Bene’s books that I prefer:
Our Lady of the Turks:
———–http://www.amazon.com/dp/B001W8FTNC/ref=nosim?tag=gabriele044-20
Album concert serie (Manfred, Lectura Dantis, Adelchi, Pinocchio):
———–http://www.amazon.com/dp/B0080S25G6/ref=nosim?tag=gabriele044-20
I appeared to the Madonna of C. B .:
—- ➡️http://www.amazon.it/dp/8845233499/ref=nosim?Tag=gabriele0dc-21
What is theater:
——- ➡️http://www.amazon.it/dp/8831719408/ref=nosim?Tag=gabriele0dc-21
Against the cinema:
— ➡️http://www.amazon.it/dp/8875218757/ref=nosim?Tag=gabriele0dc-21
Works. With the autograph of a portrait
—- ➡️http://www.amazon.it/dp/8845251667/ref=nosim?Tag=gabriele0dc-21
Deleuze on Melville
—– ➡️http://www.amazon.it/dp/8874624301/ref=nosim?Tag=gabriele0dc-21
Speech on two feet (C.B. 2019):
—— ➡️http://www.amazon.it/dp/8893446650/ref=nosim?Tag=gabriele0dc-21
Overlaps (with Deleuze and Carmelo Bene):
—– ➡️http://www.amazon.it/dp/8874624638/ref=nosim?Tag=gabriele0dc-21
In praise of Carmelo Bene (with Giancarlo Dotto):
—– ➡️http://www.amazon.it/dp/8879375865/ref=nosim?Tag=gabriele0dc-21

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