remarks in midstream. Otherwise, where was the fun in it?
Cagnotto doesn’t know which of the questions to answer. So he
says, “No, yes,” then collects his thoughts and replies to both at once. “I want to do an experimental version of Shakespeare, and that’s the problem. There was a misunderstanding with the culture commissioner for the province. He got the idea I want to do dialect theater.”
“And you don’t want to?”
Cagnotto smiles, shaking his head no . “No, no. I just want to use dialect actors, but there won’t be any dialect on the stage. Dialect actors are the street actors of the theater. Like Pasolini, De Sica, neorealism …”
“Did you hear that? The commissioner for the province didn’t get it,” says the Baronessa to the Contessa.
Cagnotto sees his mistake. “No!” he shouts. Then, smiling affectionately, almost tenderly, he goes on, “The commissioner was magnificent. I see his point. He has to consider what all the theater companies in the province want. No! He did everything he could, really.”
“Ah, I see,” says the Baronessa.
“Dear Falsaperla. He needs to find a proper tailor, however,” says the Contessa, speaking from the high vantage of being a countess with respect to the Baronessa.
Holy Mother of God, how Cagnotto would love to dish a little dirt about Commissioner Falsaperla, his air conditioner, his probable thing with Gnazia (which his intuition had picked up on and which no one else in town yet knew about). Hey, the Contessa herself had given the green light. But the Baronessa seems to him a little bit unreliable, and anyway it’s always better not to gossip about a commissioner in the presence of a baroness.
Cagnotto stares at the olive trees, pretending not to have heard. Why, oh, why hadn’t the Baronessa just stayed home?
“But I’ve already spoken to Paino! He’s delighted to host your play at San Giovanni la Punta!” says the Contessa happily.
The Baronessa is annoyed. Why isn’t the Contessa joining forces
with her against Cagnotto? “Wonderful! Paino is doing wonderful things at San Giovanni la Punta!”
The Contessa and Cagnotto give the Baronessa a there you go again with your bullshit look.
“But … how did he know?” says Cagnotto, ruffled, to the Contessa.
“These things are known,” says the Baronessa with a laugh, with reference to Cagnotto’s problems.
“Paino learned that the commissioner for the province wanted to recommend your new production to the commissioner for Pedara. But he’s been following your work for some time. He absolutely must have you put on the show at San Giovanni la Punta. In the amphitheater.”
Amphitheater? Pedara? San Giovanni la Punta? He had gone there to ask if she was willing to be a “godmother” to Shakespeare and she had already gotten him a political patron. He is bowled over. This Contessa is a real lady! Maybe, given her age, she is a little vague, like she forgets to put out chairs for her guests, but that’s normal, these nobili , the real ones, are not used to thinking about the practical details. That’s what servants are for. This is what the real aristocracy is about. Not like the Baronessa, new aristocracy, ruder than the bourgeoisie. Another school altogether, the Contessa. Certainly they didn’t make countesses much older than this!
“Obviously, Paino too has a problem, Cagnotto. The money has dried up,” adds the Contessa.
“Hey. No problem. At all!” exclaims Cagnotto, getting up happily.
“No, wait, Cagnotto, wouldn’t you like to have a swim?”
Cagnotto exchanges a look of gratitude and complicity with the Contessa.
“Rehearsals, Contessa, rehearsals!” Cagnotto bends to kiss her hand, and then in a burst of affection tries to grab her and kiss her on the cheeks, despite the sombrero.
He bids a chilly farewell to the Baronessa and goes off deep in thought, teetering dangerously on the edge of the pool.
“Now, where did you get that? Did you also hear
Cagnotto doesn’t know which of the questions to answer. So he
says, “No, yes,” then collects his thoughts and replies to both at once. “I want to do an experimental version of Shakespeare, and that’s the problem. There was a misunderstanding with the culture commissioner for the province. He got the idea I want to do dialect theater.”
“And you don’t want to?”
Cagnotto smiles, shaking his head no . “No, no. I just want to use dialect actors, but there won’t be any dialect on the stage. Dialect actors are the street actors of the theater. Like Pasolini, De Sica, neorealism …”
“Did you hear that? The commissioner for the province didn’t get it,” says the Baronessa to the Contessa.
Cagnotto sees his mistake. “No!” he shouts. Then, smiling affectionately, almost tenderly, he goes on, “The commissioner was magnificent. I see his point. He has to consider what all the theater companies in the province want. No! He did everything he could, really.”
“Ah, I see,” says the Baronessa.
“Dear Falsaperla. He needs to find a proper tailor, however,” says the Contessa, speaking from the high vantage of being a countess with respect to the Baronessa.
Holy Mother of God, how Cagnotto would love to dish a little dirt about Commissioner Falsaperla, his air conditioner, his probable thing with Gnazia (which his intuition had picked up on and which no one else in town yet knew about). Hey, the Contessa herself had given the green light. But the Baronessa seems to him a little bit unreliable, and anyway it’s always better not to gossip about a commissioner in the presence of a baroness.
Cagnotto stares at the olive trees, pretending not to have heard. Why, oh, why hadn’t the Baronessa just stayed home?
“But I’ve already spoken to Paino! He’s delighted to host your play at San Giovanni la Punta!” says the Contessa happily.
The Baronessa is annoyed. Why isn’t the Contessa joining forces
with her against Cagnotto? “Wonderful! Paino is doing wonderful things at San Giovanni la Punta!”
The Contessa and Cagnotto give the Baronessa a there you go again with your bullshit look.
“But … how did he know?” says Cagnotto, ruffled, to the Contessa.
“These things are known,” says the Baronessa with a laugh, with reference to Cagnotto’s problems.
“Paino learned that the commissioner for the province wanted to recommend your new production to the commissioner for Pedara. But he’s been following your work for some time. He absolutely must have you put on the show at San Giovanni la Punta. In the amphitheater.”
Amphitheater? Pedara? San Giovanni la Punta? He had gone there to ask if she was willing to be a “godmother” to Shakespeare and she had already gotten him a political patron. He is bowled over. This Contessa is a real lady! Maybe, given her age, she is a little vague, like she forgets to put out chairs for her guests, but that’s normal, these nobili , the real ones, are not used to thinking about the practical details. That’s what servants are for. This is what the real aristocracy is about. Not like the Baronessa, new aristocracy, ruder than the bourgeoisie. Another school altogether, the Contessa. Certainly they didn’t make countesses much older than this!
“Obviously, Paino too has a problem, Cagnotto. The money has dried up,” adds the Contessa.
“Hey. No problem. At all!” exclaims Cagnotto, getting up happily.
“No, wait, Cagnotto, wouldn’t you like to have a swim?”
Cagnotto exchanges a look of gratitude and complicity with the Contessa.
“Rehearsals, Contessa, rehearsals!” Cagnotto bends to kiss her hand, and then in a burst of affection tries to grab her and kiss her on the cheeks, despite the sombrero.
He bids a chilly farewell to the Baronessa and goes off deep in thought, teetering dangerously on the edge of the pool.
“Now, where did you get that? Did you also hear
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