Dramatist, Narrator, journalist and Italian librettist, born in Colleretto Parella (currently, Colleretto Giacosa, in the province of Turin) in 1847, and died in place of origin in 1906. From a few literary beginnings fully imbued in the aesthetics of late romanticism, did evolve toward a naturalistic postulates that left an interesting sociological analysis of provincial society of the late 19th century Italy in his literary production.
Dump from his early youth to cultivation of dramatic genre, it reached a great literary notoriety with his comedy in verse a partita a scacchi (a game of chess, 1873), work which, within more stringent schemes of the late romanticism mentioned in the previous paragraph, showed his preference for the Affairs of the past through the treatment of a theme and characters located in the remote middle ages. At the same time, also triumphed in the panorama of the Italian scene thanks to the premiere of his famous "dramatic proverbs", in which, as in the entitled Non dir quattro is non l'hai nel sacco (1873), showed already a clear mood moralist who had to preside over the first phase of his literary career.
Later, Giuseppe Giacosa was entering the new naturalistic models which, coming from France, they would be imposed on all the Literatures of Western Europe. Since this new aesthetic approach, he composed some of his best plays, both in the aspect of the comic Theater of the dramaturgy of deep psychological penetration. Between these major Turin playwright's works, notably the pieces entitled Il marito lover Tristi della moglie (the lover madio's wife, 1877), amori (sad love, 1887), I diritti dell'anima (rights of the soul, 1894), Come le foglie (such as leaves, 1900) and Le più forte (the strongest, 1904).
In general, the criticism of his time valued at teatro de Giuseppe Giacosa his mastery when it comes to reflect the great conflicts of contemporary bourgeois society, always from a tight domain of scenic language that could give all their dialogues large dose of freshness and authenticity. On the other hand, today his plays appear weighted by a heavy load of pathos - inherited, without doubt, its origins romantic-that, in the background, only seeks to disguise the bourgeois discourse of the playwright, always attached to the defence of some such put into question values for contemporary theatre as the honor, courage and tenacious and hard effort.
Increasingly more consecrated as one of the leading authors of his generation, Giuseppe Giacosa also ventured in the cultivation of other genres that helped increase the literary prestige that it enjoyed in his time. Thus, published a book of short stories achieved great notoriety, Novelle e paesi valdostani (stories and peoples of the Valley of Aosta, 1886), and wrote numerous journalistic collaborations which were aired by the main media in the Italy of late 19th century and the beginning of the following century. In this journalistic aspect, in 1901 it reached the direction of important cultural magazine La Lettura, of Milan.
Writings which gave him greater popularity among his contemporaries, however, were those who went to the lyric genre, which became one of the major writers of the time. Already in 1893 he had published an interesting dramatic legend, Trionfo d'amore (triumph of love), transformed into opera, it opened the doors of the main European operatic cenacles; encouraged by this success, he began to collaborate regularly with other sacred monsters of the libretto, l. Illica, who composed the lyrics of some of the best operas of Giacomo Puccini, such as La Bohème (1896), Tosca (1899) and Madame Butterfly (1904).