In the plays, Curino in no way suggests that Sacerdoti and Revel should have been paid wages, as requested by Italian feminists in the 1970s.
In stories whose object of conversation and representation are two successful male industrialists, they only metaphorically appear when the female characters quote them; and when they do, as is the case with Camillo Olivetti, Curino undermines their presence by slightly deforming their aura (e.
To correct this perception, Curino must rewrite history by offering numerous biographical details about both Sacerdoti and Revel (and even herself) in the opening scene.
So when Curino calls attention to the Olivetti women and the housework they "produced," she advocates for the constant of human labor sustaining the process of biological reproduction, all the while reminding us that the Olivetti conglomerate could not have become what it did without the support and counsel of women like Sacerdoti and Revel.
Curino articulates this affective angle most powerfully at the end of the first play.
In many ways, Curino constructs the Olivetti company to mirror the rich culture, warmth, and diverse intelligence with which Sacerdoti and Revel raised Camillo and Adriano.
If one recalls that the subtitle to the first play is Alle radici di un sogno, and that, according to Curino, the roots of that dream begin with Sacerdoti and grow with Revel, it is possible to see how her muted enthusiasm stems from different origins than those critically condemned by others.
In her plays, Curino takes pains to distinguish between the industrial work culture at FIAT in Settimo Torinese and that of Olivetti in Ivrea.