The Corriere della Sera Foundation, in collaboration with the Spoleto 2Mondi Festival , remembers the great journalist with a play and a conference.

The Corriere della Sera Foundation remembers the great journalist to five years after her death with "Donna-Contro. In memory of Oriana Fallaci, " a double initiative realized in collaboration with the 54th Festival dei 2Mondi: a theatrical project and a conference, both at the Teatro San Nicolò in Spoleto.
From July 1 to 3, Monica Guerritore will stage an impossible interview with the most famous Italian journalist of the ′900s: "You ask me to speak....", from an idea by Emilia Costantini, dramaturgy and staging by Enrico Zaccheo and Monica Guerritore.
On Saturday, July 2, the conference "Oriana Fallaci: theater, cinema and fiction tell her story" will be held, introduced by the director of Corriere della Sera, Ferruccio de Bortoli, and with the participation of: Fabrizio Del Noce, Domenico Procacci, Sandro Petraglia, Alessandro Cannavò, Rosaria Carpinelli, Edoardo Perazzi, Giovanni Minoli, Lucia Annunziata and Monica Guerritore. The meeting will be moderated from Emilia Costantini.

"The theatrical production and the conference organized to Spoleto add to the other initiatives that the Corriere della Sera Foundation has developed to enhance the professional legacy of Oriana Fallaci," explains Corriere della Sera Foundation President Piergaetano Marchetti. " Rcs was the publishing house of Oriana Fallacias a journalist and as a writer, and the Foundation is proud to keep her memory alive and to contribute to to making her known."opera"
The Corriere della Sera Foundation, in fact, has created to one year after her death the exhibition "Oriana Fallaci - Interview with History" and keeps Oriana Fallaci′s precious personal archives in storage. The double event "Woman-Contra. In memory of Oriana Fallaci" scheduled to Spoleto is a continuing part of the initiatives to enhance the memory of the great writer and journalist.
All of Oriana Fallaci's works are published in RCS editions.

As part of the project "Woman-Contra. In memory of Oriana Fallaci," the Corriere della Sera Foundation, in collaboration with the Spoleto 2Mondi Festival, is organizing the conference "Oriana Fallaci: theater, cinema and fiction tell her story." The aim of the meeting is to interrogate the three main forms of artistic expression - theater, cinema and fiction - on the difficult and fascinating enterprise of recounting Oriana Fallaci.

The debate takes place in a place of excellence such as the Spoleto Festival, a stage for experimentation and a laboratory for new languages. It is not a commemoration, of the kind the great writer detested ("they are pallid and people talk to gibberish"), but a confrontation between theater, cinema and fiction on the best way to tell the Fallaci myth.

The conference, introduced by Corriere della Sera editor Ferruccio de Bortoli, will be attended by: Fabrizio Del Noce (director of Rai Fiction), Domenico Procacci (producer Fandango), Sandro Petraglia (screenwriter), Alessandro Cannavò (Corriere della Sera journalist, co-author of the show "Interview with History"), Rosaria Carpinelli (editorial consultant, editor of the Works of Oriana Fallaci), Edoardo Perazzi (Fallaci′s grandson and her universal heir), Giovanni Minoli (director of Rai for the 150th anniversary of the Unification of Italy), Lucia Annunziata (journalist, host of the program Potere), and Monica Guerritore. Emilia Costantini will moderate the meeting.

SATURDAY, JULY 2
at 12 NOON

conference
ORIANAFALLACI:
theater, film and fiction tell her story
Forms of artistic expression to confrontation on the best way to tell the Fallaci myth.

An internationally renowned journalist and writer translated throughout the world, Fallaci is perhaps one of the most difficult characters from to tell and from represent. Probably because she herself was a great narrator of herself and of the events in which she was involved: her books were not fictional, but always strictly adherent to reality, to the characters, to the events she experienced in the first person.
From her debut, in 1958, with The Seven Sins of Hollywood to the trilogy composed from La rabbia e l′orgoglio (2001), La forza della ragione and L′Apocalisse (2004), passing through Letter to un bambino mai nato (1975), Un uomo (1979) and Insciallah (1990), Oriana Fallaci′s narrative journey is always linked to her existential experience and never detached from her professional adventure as a journalist. If she espouses a civil cause, such as the condition of women, the result is a book like The Useless Sex (1961). If she tackles madness, the disease of love, she decides to chronicle her relationship with Alekos Panagulis. If she investigates the theme of motherhood, out comes the moving description of her complex relationship with an "unborn child." Readers of her books, all published from Rcs, are familiar with this fundamental trait.
On the other hand, Fallaci herself says that "journalism was a compromise, a means to get to literature," and that, already from when she was four to five years old, she did not conceive "even remotely of a profession other than that of writer." And in the preface to Interviews with History (1974), he keeps to pointing out:

"I do not and never will feel like a cold recorder of what I see and hear. On every personal experience I leave shreds of soul and I participate to what I feel as if it affects me personally and I have to take a stand. For I am, if anything, a writer lent to journalism. Rather I am a historian, that is, that journalist who writes history in the instant it happens."

But Oriana Fallaci admits to having one ambition:

"May my books continue to to live on after my death, because from books come books, just as from people come other people. In short, I would like to die a little less."

Yet, those who have ventured to to make films from her books while Fallaci was still alive have always found enormous difficulties: from Michael Cimino to Robert De Niro, from Robert Redford to producer Franco Cristaldi, who unsuccessfully attempted to bring Un uomo to the big screen, to name only the most egregious examples. And some say that, from when Fallaci is gone, it is easier to work on Fallaci.

Currently, in addition to the unimaginable, impossible interview with the greatest interviewer of the ′900s, played in the theater from Monica Guerritore, a fiction on the life of Oriana Fallaci and a film based on her from Un uomo are in the works.

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