Curino articulates this affective angle most powerfully at the end of the first play.
In many ways, Curino constructs the Olivetti company to mirror the rich culture, warmth, and diverse intelligence with which Sacerdoti and Revel raised Camillo and Adriano.
(10) In this light, Curino's choice to embrace the favorable opinion of the company might seem somewhat uncritical, but by upholding this idyllic portrayal, she can explore a different, less confrontational, though no less cogent perspective about the origins of such exemplary intentions.
In her plays, Curino takes pains to distinguish between the industrial work culture at FIAT in Settimo Torinese and that of Olivetti in Ivrea.
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.
Conversely, the balance that needs to be achieved between a company's capitalist imperatives and the alienation of workers whose needs and development are subject to company time is at the heart of Curino's rendition of the Olivetti story, and of the dominant representation of Olivetti's enlightened capitalism.