摘要：In La semplicità ingannata the Italian playwright, Marta Cuscunà presents several models of female resistance –Arcangela Tarabotti and the Clarisses of Udine– with the intention that their lives will help the audience, especially the younger one, to reflect, about the need, even today, of rebellion, in order to not accept behavior patterns that our society imposes us and presents to us as unique, normal and the most beneficial. This article analyzes the play –its plot, structure and staging–that belongs to her project on women's resistances and relates it to the construction of gender and cultural conditioning.
其他摘要：In La semplicità ingannata the Italian playwright, Marta Cuscunà presents several models of female resistance –Arcangela Tarabotti and the Clarisses of Udine– with the intention that their lives will help the audience, especially the younger one, to reflect, about the need, even today, of rebellion, in order to not accept behavior patterns that our society imposes us and presents to us as unique, normal and the most beneficial. This article analyzes the play –its plot, structure and staging–that belongs to her project on women's resistances and relates it to the construction of gender and cultural conditioning.
关键词：Marta Cuscunà;Female models;Arcangela Tarabotti;Clarisses of Udine;Contemporary Italian dramaturgy;Marta Cuscunà;Modelos femeninos;Arcangela Tarabotti;Clarisas de Udine;Dramaturgía italiana contemporánea
