The publisher Squilibri of Rome, one of the most careful studies of the promoters of music and, in general, on the popular cultures of the various areas of Italy, recently released “Roberto Leydi and ‘Sentite buona gente’. Music and culture after World War II”. The volume, edited by Domenico Ferraro, professor of history of modern philosophy at the University of Rome Tor Vergata and scholar of Italian culture of twentieth century, looks like a full-bodied and complex project. On the one hand because the figure of Leydi – of which we have often spoken in this section – here is defined not only through his work as a scholar and researcher of music of oral tradition. But above all through the relationships that have connected him to the great figures of the Italian culture of the late twentieth century. Reports that return to Leydi the lead role of a cultural complex and “ragged”, in a time when “the ‘actual reality’ of the traditional world animated a plurality of theoretical positions, from De Martino to Pasolini, from Calvin to Fortini before being reabsorbed in the intentions of a militants ‘political theater’ and a ‘fight and protest song’”. Second, the book is interesting because, in addition to retrace the experience of the play “Sentite buona gente” – promoted, “in opposition to the ‘Ci ragiono e canto’ by Dario Fo and Nuovo Canzoniere Italiano”, for theater season 1966-’67 of the Piccolo Teatro in Milan, with the advice of Diego Carpitella and directed by Alberto Negrin – collects an extraordinary mass of documents, organized, as well as in the book, a CD and a DVD. In the latter was reported reducing television entertainment (on the site of Squilibri you can see a short excerpt), while the CD was composed with a selection of songs recorded in the field in Abruzzo and Tuscany, some of which are performed singers from Cerqueto di Fano Adriano, from the Cardellini del Fontanino and some improvisers poets from Arezzo that did not participate in the show.
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