Abstract
Like its historical predecessor, the Italian neoavanguardia was essentially male-dominated. Although it is difficult to pinpoint exactly where and when the Italian neo-avant-garde was born, the founding of the journal II verri by Luciano Anceschi in Milan in 1956 is often cited as its starting-point, while the publication in 1961 of the anthology I novissimi, with excerpts from the work of Nanni Balestrini, Alfredo Giuliani, Elio Pagliarani, Antonio Porta, and Edoardo Sanguineti, is considered its official coming into being.1 The all-male group of the novissimi went on to form the core of the larger Gruppo 63, where women were a tiny and marginalized minority. Out of the twenty-nine participants who spoke or read from their work at the first meeting of the group (held in Palermo in October 1963) only two were women. They were Amelia Rosselli and Carla Vasio. Among the ten writers whose work was staged in the evening devoted to the theater there were no women, though Piera Degli Esposti, Annita Nosei and Carmen Scarpitta participated as actresses. Subsequent
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