{"id":140272,"date":"2024-10-07T15:39:32","date_gmt":"2024-10-07T13:39:32","guid":{"rendered":"https:\/\/www.fondazionecsc.it\/?post_type=product&#038;p=140272"},"modified":"2025-08-01T00:00:05","modified_gmt":"2025-07-31T22:00:05","slug":"carmelo-bene","status":"publish","type":"product","link":"https:\/\/www.fondazionecsc.it\/en\/prodotto\/carmelo-bene\/","title":{"rendered":"Carmelo Bene"},"content":{"rendered":"<p>Borrowing from a previous number of the magazine, published over half a century ago (11-12, November-December 1973) and curated by Maurizio Grande, this issue of \u00abBianco e Nero\u00bb aims at providing an overview of Carmelo Bene\u2019s career that extends beyond cinema, theatre and any other of his fields of interest. This issue\u2019s essays, curated by Giancarlo Mancini, address only briefly his contribution to film-making and almost totally bypass Bene\u2019s work in theatre, while focusing instead on the television author and, more importantly, on his public persona, whose TV appearances can still surprise and astonish a modern viewer, whether he was addressing the audience on the <em>Maurizio Costanzo Show<\/em> or talking about football on <em>Il processo del luned\u00ec<\/em>. In order to properly understand Bene, it is necessary to consider his whole persona, including both the \u2018provocateur\u2019 that transpires from his TV appearances and the refined artist who relied more on absence than presence: the director behind <em>Nostra Signora dei Turchi<\/em> as well as the man who would give up Gassman just to see Marco Van Basten (who is not an obscure Belgian director but a wonderful and unlucky Dutch centre forward) in action again. This analysis can only culminate with a look at Carmelo Bene\u2019s presence on social media today. On Facebook, he gets as many \u2018likes\u2019 as Taylor Swift. Many users share content about him, tag him, turn him into gifs and memes: if we do some quick math, they are mostly people who probably have never seen him on stage and may never have watched one of his films. On the net, Bene is more alive and present than ever. This issue is dedicated to Adriano Apr\u00e0, who passed away on 15 April 2024. Adriano was a long-time associate of the Centro Sperimentale (he was curator of the Cineteca Nazionale from 1998 to 2002) and was a friend and admirer of Carmelo Bene. We believe he would have shared our idea of Bene as a \u2018total\u2019, multimedia artist and \u2013 long before films and shows \u2013 a creator of a work of art that matched him as a person.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This issue of \u00abBianco e Nero\u00bb traces Carmelo Bene\u2019s career, providing an overview that extends beyond cinema, theatre and any other field of his interests, while focusing on the TV author and his public persona instead.<\/p>\n","protected":false},"featured_media":140283,"template":"","meta":{"_acf_changed":false},"product_brand":[],"product_cat":[169],"product_tag":[],"class_list":{"0":"post-140272","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-senza-categoria-en","8":"first","9":"instock","10":"taxable","11":"shipping-taxable","12":"purchasable","13":"product-type-simple"},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Carmelo Bene - 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