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Passione begins with Curino recounting the move with her seamstress mother from Torino to Settimo Torinese in FIAT housing during the 1960s.
In a reference to Pasolini's depiction of political corruption and urban ruin, Curino further stresses how industry conquered the natural world in her descriptions of Settimo Torinese, a land where not even fireflies roam since the fields where they once flocked no longer exist.
Almost ten years before Curino wrote Passione, she and her theater company, the Laboratorio Teatro Settimo, described the grotesque character of their city, which they likened to the peripheries of industrial metropolises that were also constructed for the sole purpose of corporate profit rather than public benefit.
Curino and her company here emphasize the ways in which capitalism triumphs over the needs of ordinary people.
The Olivetti that Curino celebrates is a company that managed to be profitable while providing a positive living experience for its workers, in sharp contrast with the companies that built the city that she calls home.
In the play, Curino explicitly praises Olivetti's success in achieving the utopic co-existence of capitalist productivity and workers' fair treatment and well-being, because it helps her underscore the influence that Camillo and Adriano's upbringing (by women) had in effecting such harmonious outcomes.