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- Il fantastico femminile: una questione di genere
- Centre Stage Series: Rehearsing Translation
- Il "New Italian Realism": genesi, caratteri, dibattito (2008-2013)
- L'ermetismo: una generazione
- Centre Stage Series: Commedia dell’Arte: From Street to Salon
- Centre Stage Series: Not Pierrot, More Pirandello!
- "Porte aperte": la mafia, il fascismo e la polizia negli anni Trenta
- Fascism’s Mediterranean Empire: Occupation, Governance and Italian Colonial Modernity in the Dodecanese Islands (1923-43)
- Centre Stage- Homage to Franca Rame: Actress, Writer, Activist
- From Phantasmagoria to Science!
- An Appointment with Dante
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- Lampedusa: Migratory Space, Memory and Aesthetics
- Le parole tra gli uomini
- From the Grotesque to the Galilean: Margherita Costa and the Spectacle of Baroque Female Dramaturgy
- The Many Lives of Inspector Montalbano
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- Le epigrafi di Poggio Mirteto: la scoperta di una lauda di inizio Trecento
- Alberto Savinio e l'Europa: un artista pellegrino sotto il segno di Mercurio
- Come leggere la Commedia di Dante: la lezione dei poeti (T.S. Eliot, O. Mandelstam, e altri)
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- Pastoral, Peasants, and Portraits of Rural Life in the Renaissance: Ruzante, the Rozzi, and Shakespeare
- Unwinding the Labyrinth: Exploring the 'Eights in the Octagon' Exhibition
- A Journey to the Centre of Sentences
Centre Stage- Homage to Franca Rame: Actress, Writer, Activist
Publication date: Mar 04, 2014 09:42 AM
Start: Mar 20, 2014 06:00 PM
Location: Westminster Reference Library (2nd Floor), 35 St. Martin’s Street, London, WC2H 7HP
Led by Joseph Farrell (University of Strathclyde)
Chaired by Marta Niccolai (UCL)
Including a performance by Marina De Juli
Franca Rame was a figlia d’arte, perhaps the last representative of the Italian tradition of strolling players whose work was based on improvisational techniques. Unlike Dario Fo, she was born into the theatre, and he learned a great deal from her and the Rame family. Dario and Franca formed a personal and professional relationship which has few parallels in theatre history. They first appeared together in the 1950s, and had great success in the commercial theatre before breaking away to perform more politically committed work post-1968. Although she was uncomfortable with the label ‘feminist,’ Franca was from the 1970s onwards fully committed to dramatizing and campaigning for women's issues. Late in life she was elected to the Italian senate, an experience she described in bitter terms in her last book.