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Gli odori dei mestieri di Gianni Rodari

Gianni Rodari

Gli odori dei mestieri

Io so gli odori dei mestieri:
di noce moscata sanno i droghieri,
sa d’olio la tuta dell’operaio,
di farina sa il fornaio,
sanno di terra i contadini,
di vernice gli imbianchini,
sul camice bianco del dottore
di medicine c’è buon odore,
I fannulloni, strano però,
non san di nulla e puzzano un pò.

Gianni Rodari
Biografia

 

Gianni Rodari. Giornalista, pedagogista, scrittore per l’infanzia, nato a Omegna (Novara) il 23 ottobre 1920, morto a Roma il 14 aprile 1980. Conseguito il diploma magistrale nel 1937, R. insegnò in varie scuole elementari. Nel 1944 s’iscrisse al Partito comunista italiano e partecipò alla Resistenza. Nel dopoguerra iniziò l’attività di giornalista su l’Unità, subito dedicandosi a fortunati esperimenti di scrittura rivolti a un pubblico infantile. R. è il protagonista (come al loro tempo lo furono un Collodi o un E. De Amicis) di un rinnovamento radicale delle forme linguistiche e dei contenuti pedagogici della letteratura per l’infanzia, i cui frutti matureranno anche fuori dei confini dell’Italia. Innumerevoli sono stati, negli ultimi due decenni, gli esperimenti educativi ispirati all’infaticabile attività di R., autore di filastrocche, racconti, fiabe e romanzi, ma anche acuto teorico dei problemi inerenti alla comunicazione fra mondo adulto e mondo infantile (è del 1973 il documento maggiore della meditazione teorica rodariana, Grammatica della fantasia. Introduzione all’arte di raccontare storie). Nel 1970 R. fu insignito del premio Andersen, che può essere considerato il vero e proprio Nobel della letteratura per l’infanzia. Per orientarsi nella sterminata produzione creativa rodariana, occorre sempre ricordare che molto spesso i suoi volumi sono frutto dell’assemblaggio di pezzi pubblicati all’interno di rubriche per bambini tenute da R. su quotidiani e periodici (oltre a l’Unità, andranno ricordati Il Pioniere, Noi Donne, Paese Sera, Il Corriere dei Piccoli, La Via Migliore). La fantasia di R. è inoltre particolarmente incline alla continua rielaborazione di temi e motivi, si tratti di testi in prosa o in poesia o ancora concepiti per l’esecuzione teatrale. Caratteristica principale della scrittura di R., coltissima a dispetto dell’apparente semplicità, è la tendenza a disporre liberamente di un plurisecolare repertorio fantastico-fiabesco (da F. Rabelais ad H. Ch. Andersen, da G. Basile ai fratelli J. e W.K. Grimm), costantemente ibridato mediante accorti recuperi da attuali forme di comunicazione come la televisione o il fumetto.

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