THE ⟪ BLACK WORK ⟫ OF WRITING A LANGUAGE FOR BEPPE FENOGLIO'S THEATER

This paper explores the language and the style of Fenoglio's theatrical works. The analysis comprehends La Voce nella Tempesta, Serenate a Bretton Oaks and some unfinished fragments. The importance of Fenoglio's plays resides both in the thematic and linguistic influences they had on the later novels. However, if the manipulation of the content has already drawn the interest of the scholars, it is not possible to say the same for the stylistic process. This constitutes a fundamental laboratory where the author felt free of trying himself on a new language. Indeed, Fenoglio grew up in a dialectical context, where the school remained the main source of the Italian language. This means, linguistically speaking, that Fenoglio had to absorb the model of Manzoni and D'Annunzio before elaborating his own style. As my analyse will show, the plays present the influences of this literary past and, at the same time, the clear attempt of going beyond it. In fact, the author sees in the theatre the possibility of displaying a new language which is more fluid, sharp and colloquial. Thus, in this analysis it will be possible to discuss the steps which led the author from the prescription of the school to the polyphonic language of his latest works.