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Reading De Filippo
Published online by Cambridge University Press: 14 February 2022
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Extract
Eduardo De Filippo bewilders the critics. His comedies raise a number of problems which are not easily disentangled: the relation between the playwright he has become and the actor he has always been; his language, which is neither standard nor dialect; his link to the tradition of the commedia dell'arte; his relation to pirandellismo, surrealism, and neo-realism; the nature of his comedy and the quality of his morality; the burden and function of his Neapolitan settings. One could even ask whether there is a line of development in his work: how can we explain that a true masterpiece like Christmas in the Cupiello Home came fifteen years before the series of plays that fulfilled its promise: Naples’ Millionaires, Oh, These Ghosts!, Filumena, The Voices from Within, My Beloved and My Heart. And finally, what role did World War II play in De Filippo's development?
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- Research Article
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- Copyright © The Tulane Drama Review 1964
References
1 Natale in case Cupiello, Napoli milionaria!, Questi fantasmi!, Filumena Marturano, Le voci de dentro, Bene mio e core mio.
2 Ludovico Zorzi, Reading Ruzante (Lettura di Ruzante).
3 In Italy one may very well speak of the “extended family,” which includes grandparents, aunts, uncles, cousins, etc.
4 Camorra is a Neapolitan gangster association, roughly equivalent to the Sicilian Mafia. As in other organizations of this kind, a “boss” administers a territory which he controls with undisputed power.
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