A reason a show dedicated to the great figure of Gianni Rodari
.. .
Current work is one of Rodari of the leading conductors of the 2010 Book Fair Ragazzi.Non could not be otherwise because in addition to the ninetieth anniversary of the birth (1920 to Omegna) and the thirtieth anniversary of the death (1980 in Rome), 2010 is also the fortieth anniversary of ' allocation Rodari HC Andersen Award (1970 in Bologna), the most prestigious award for writers of children's books.
http://www.bolognachildrensbookfair.com/programma/gianni_rodari
In this site there is much interesting material on Rodari
http://www.indire. com / Rodari / study / index.htm
Write today for children
Write means write primarily for themselves, but writing for children does not mean writing for themselves. It means, to use a musical comparison, use a particular instrument and not the whole orchestra. Use a key and all keys. I want to start talking about some cases that I know (for example mine), not to make the autobiography, but for from accurate data. Around '49-50 was already a journalist quite happy with his condition. I worked in a national newspaper in Milan. I sent and the status of any serious intention to do that job the pivot of my life. I was about thirty, not long ago I was a kid. And then one day the editor of the newspaper decided to dedicate a page on Sundays for children. They asked me to make this corner for children. I was the only one to have done years ago, the school teacher and this was the only title that suggests that choice. I also had a predisposition for brilliant pieces of fantasy and humor. I began to publish weekly tales and nursery rhymes for my taste that reflects the youth of the French surrealists read by students in the library. Almost immediately they began to get letters from children asking for his father rhymes tram driver for the traffic policeman father, to his father and used as via.Le rhymes were born, so to speak, on the left hand, but I enjoyed inventing the light of the conditions of which I could not feel the meaning: the first that the children's corner did not appear in a newspaper for children but in a national newspaper very committed and socially close to the popular classes, the second that the angle became more of a direct dialogue with the children. Not a thing done at a desk, but in direct contact with readers, children and their families. They are not, therefore, come to children by way of literature, but that of journalism, so much so that I continued to do even after the journalist. In '50 I was almost forced, even if not entirely convinced, to direct a weekly for children and to characterize it, I invented a series of characters I knew well from the days when, as a reporter, I attended every day of the big markets Milan to study the prices of potatoes, fish, meat, to take care of the problems of household spending. Thus were born as characters Onion, Tomato, the Countess of Cherry, Pear Pear, Raisins master etc.. At that time a publishing house asked me to publish a booklet of my rhymes and asked me to write a book, even a novel, the characters I had invented for a different book: Onion and Tomato. The idea amused me. I prepared a lineup (the skeleton of the story) I took a month's leave and was hosted by a farmer in the countryside of Modena in a month where I did the first draft. In the morning I woke up at dawn. The farmer's daughter knocked on the door: "Come on, John, you're here for work, not to sleep." The housewife would always ask me to which I arrived. The morning I told her I had arrived on pg. 100, celebrated with neighbors and with the children.
Thus were born the first two books at a table but in an environment rich in stimuli in direct contact with reality, with the full freedom to use your imagination. In short, I found it a bit 'for the event is an exciting task that definitely put me on the side of children. In later years this became more and write write one more among the children, with children playing with them, mixing the images of my imagination with images of their fantasia.Così I got into the habit of moving forward in making new books, for three stages: first, to tell aloud to children in schools or where I could meet with the stories that came to mind; children chose different classes and schools located in various Italian cities. Second stage: the object found that could work, which was not limited to the language of the family my relationship with a child or a group, then passed the written version and here is gaining increasing ground to study the mechanisms of the fable and the story, the imagination and reflection on writers I felt closer to Palazzeschi by Zavattini. Third step: to file, by reading to children, before the page became the printing. Door of the school taking care of these things to the reactions of children. Children are also literary critics. Rather than their opinions to be careful in their reactions. If I read the story while I turn around to talk about the other side means that history is not interested, if it distracting when I think should laugh, it means that the joke does not work then the mechanism must be studied better. So I came by making inventive techniques, working material of the fantasy that once I was invited to exhibit some teachers of kindergarten. Thus, not at a desk, but in the context of this experience in contact with teachers, was born on my book The Grammar of Fantasy. I think the most important aspect of the type of work that came quickly was exposing the capture of a way of writing for children, in direct contact with their changing world. This allows me to change and update my views on children, the school, the world, in short, to remake continue my studies, to continually re-educate me by bambini.Mi found without having planned it 'desired shelf of literature of childhood . C. Dickens kept on his desk writing a maxim that says: "It's good that you're gonna get to do." I tried I to obey this maxim without feeling offended, not considering that writing for children was to be Series B or in a ghetto. Children are not second class human beings, but for centuries and millennia are reared apart, no rights, unknown words in a ghetto. But they are coming out. For some time he discovered them and discovered them pedagogy, psychology, pediatrics, advertising, industry (toys, food etc...) The children are now actually more important. For psychoanalysis has become the key to understanding even the adults, to interpret social behavior. The last came also the UN, before issuing a bill of rights of children, then planning the Year of the Child. I personally believe that children have no right to a year of attention, problems of exhibitions, shows, but in the permanent care and growing every day, each year in each country. So I think every year is year of the child. So I'm fine year of children.
The child is a recent discovery. In primitive societies had bought a puppy his name only after adolescence, initiation ceremonies, rituals, even after frightening. In ancient societies was owned by his father as the furniture and animals. In the Middle Ages belonged to the feudal lord. Before the child's revolutionary Europe of 700 discovered the noble savage and only after the baby, when you needed the child labor to operate the spinning, the weaving mills, coal mines in England. The child was a worker, was employed before the pupil of the earth. The school is for all born in Europe in 800, when the industry was in need of a skilled, capable, at least, to read the names of the machines and to interpret the instructions and regulations to make them work. First, the school's all there was no need. And they were illiterate people to invent the wheel, language, agriculture, metallurgy. Were illiterate slaves to build pyramids. Legionnaires illiterates to conquer Gallie. Illiterate serfs to work for the great lords of the Middle Ages. The alphabet and culture have for centuries been the monopoly of the dominant elite. Even the great literatures were born and have produced masterpieces in societies where the majority of children was only a reserve or farm labor.
As far as our country is certainly a fact: the Italian literature was born and developed in and around the courts Stately great centers of civilization and culture spread throughout the peninsula. And from these sources has drawn and kept aristocratic characters, some of which still today. The courtly tradition, not popular, it was tough to die. It continues to act, so that scholars and critics call for less, surrounding it with walls of silence, the literature they call pleasant, although for many years was the only one to reach all yellow, science fiction, comics, movies, television or the children's book. These walls, however, are broken in several places. For film and TV writers are also working. Stories for children have also written them Compagnone and Moravia. The comics are also interested Oreste del Buono and Umberto Eco. Something we have gained even children. But not even all that they are entitled. The children are patients. In 800 began to go to school and enjoy school books. In these books was expressed mainly the teaching pedagogy of the dominant classes the virtues: obedience, saving, the ability to endure sacrifices and so on. Enough, in short, because growth remains far from the trade unions, the first workers' cooperatives, mutual aid societies. But in those books, slowly, we have been putting on the popular fairy tales. Collodi translated from French fairy tales of Perrault and sets aside a few years after school programs and publishers to give his life to Pinocchio: the largest fruit of contemporary classical fairy tale. Pinocchio fairy tales come to life in the ancient Tuscan, French, those of the Brothers Grimm and Andersen. From Pinocchio on the children's book began life in Italy is not the shadow of the school, but in taking directly with the needs of children, with childhood fantasy, the fantasy of growth, with a desire for adventure of young readers. Here in short, baby, win the first floor, he can become the other person outside the mediation of pedagogy. But let's not forget that the greatest philosopher of our time, Benedetto Croce, once had to deny the legitimacy of the existence of children's literature. "The children choose the books on the shelves Italians that they are able to adapt, and those are children's books. But a children's literature does not exist." This could be true for him. Those born in a house full of books and he is given freedom of movement, can go and choose the Orlando Furioso, or Don Quixote or Robinson Crusoe or any other book that could become, maybe reduced, a children's book. Cross, after all, theorized a fait accompli. Theorized that when Pinocchio came out and a few years later he wrote that sentence, the majority of Italian children had no books. He was carrying work tools. Today, however, this speech will change. After all just look at the shelf of books for children and young adults, to measure the height of the liberation that has befallen the children's book than edifying literature of the first 800, compared to the textbook. The important features of that shelf today are, in my view, three: fairy tales, adventure, science with its subdivisions (classic and contemporary tales, adventures and traditional science fiction, the disclosure of historical, geographical, technical and math). As for the fairy tale feel discordant voices rising. There are those who linger to denounce the contents as if fairy tales were born of pedagogy rather than the life of ancient peoples. Some people suggested the major psychoanalytic. But fairy tales are not born in table hints individual, but from the collective processing of peoples and generations distant from each other greatly. There are those who regret the story as something that no longer exists or there is almost even those who proclaim the end of the size great for both children of the authors. At this point I would go up. I have never been printed many books on fairy tales like today. They have never circulated in Italy, as it moves today, tales of all countries (European, African, Asian, South American). The largest collection of Italian folk tales, translated from the various dialects, has recently come to life before our eyes: they are the tales of Calvino. We have not had our brothers Grimm 800, we had Calvin a few years ago. The story is not dying and has never lived more than now. If fifty or a hundred years ago, stories were read and enjoyed by only a certain number of children today, with mass education and the high standard of living popolare, a number assai conquistato hanno più di lettori e di long ascoltatori.
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