4) Curino provisionally accepts the judgment that Olivetti was an exemplary company for which to work, thus corroborating the portrayal of the Olivettis as model business owners.
By showing that one of the companies most lauded for its social practices in the history of modern manufacturing was incapable of acknowledging the function of women in public labor, Curino demonstrates not only the extent to which women were marginalized, but also how their economic and productive contributions were unacknowledged.
With Sacerdoti and Revel as catalysts, Curino illustrates how women's labor and productivity in the domestic sphere were crucial to the rise of even the greatest factories, while retroactively honoring and redeeming their value.
Stemming from and responding to various social and political controversies that characterized the 1970s, its founders, including Curino, challenged hegemonic notions of national memory by discovering and performing stories that focus on the lives of ordinary people.
Alone on the stage, embodying Elvira and Luisa, Curino focuses the spectator's attention more poignantly on their role as signifiers for every woman alone at home, while the empty stage around Curino gives symbolic meaning to the solitude and alienation that accompanies domestic labor.
If the first play emphasizes solitude in the singularity of Curino on stage, the sequel underscores the distance between male and female work through the interactions among the three actors, who orbit around each other, come together, and eventually split apart.
Moreover, given her geographical proximity to Torino, a city with a long history of labor strife, it is not surprising that Curino would put the issues of labor relations and gender discrimination in dialogue with each other.
This is exactly the kind of relationships between labor and production that Curino illustrates through the characters of Sacerdoti and Revel, to which I will now turn.