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Il Teatro Significa Vivere Sul Serio Quello Che Gli Altri Nella Vita Recitano Male.”1

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Il Teatro Significa Vivere Sul Serio Quello Che Gli Altri Nella Vita Recitano Male.”1 1 Introduction “Il teatro significa vivere sul serio quello che gli altri nella vita recitano male.”1 Many years ago a young boy sat with his friend, the son of a lawyer, in the Corte Minorile of Naples, watching as petty criminals about his age were being judged for their offenses. One ragged pick-pocket who had been found guilty demanded to be led away after being sentenced; instead he was left there and his loud pleas were completely disregarded. Unwilling to tolerate this final offense of being treated as though he were invisible, the juvenile delinquent, in an extreme act of rebellion, began smashing the chains around his hands against his own head until his face was a mask of blood. Horrified, the judge finally ordered everybody out of the court. That young boy sitting in court watching the gruesome scene was Eduardo De Filippo and the sense of helplessness and social injustice witnessed left an indelible mark on the impressionable mind of the future playwright. Almost sixty years later, at the Accademia dei Lincei, as he accepted the Premio Internazionale Feltrinelli, one of Italy’s highest literary accolades, De Filippo recalled how it was that this early image of the individual pitted against society was always at the basis of his work: Alla base del mio teatro c’è sempre il conflitto fra individuo e società […] tutto ha inizio, sempre, da uno stimolo emotivo: reazione a un’ingiustizia, sdegno per l’ipocrisia mia e altrui, solidarietà e simpatia umana per una persona o un gruppo di persone, ribellione contro leggi superate e anacronistiche con il mondo di oggi, sgomento di fronte a fatti che, come le guerre, sconvolgono la vita dei popoli.2 The purpose of this thesis is twofold: to provide for the first time a translation of Eduardo’s last play, Gli esami non finiscono mai (Exams Never End), and to trace the development of his dramatic style and philosophy in order to appreciate their culmination 1 Enzo Biagi, “Eduardo, tragico anche se ride,” Corriere della Sera , 6 March 1977. 2 Eduardo De Filippo, I capolavori di Eduardo, vol. I (Turin: Einaudi, 1973), introductory note by Eduardo De Filippo, p. VII. 2 in his work. My aim is to illustrate the reasons behind De Filippo’s move from the farces in the twenties to the existential reflections in his last work. In doing so, this thesis proposes to reveal Eduardo as a much deeper playwright than is generally acknowledged. Gli esami can thus be seen as both the starting point and the finishing point of the thesis, and the translation will have its own preface. My intention in this Introduction is to set out the sources and methodology adopted in the body of the thesis. The primary sources of this thesis are the plays, as they were collected by Eduardo himself and published by Einaudi in Cantata dei giorni pari and Cantata dei giorni dispari3 together with reflections on his work, some short, some much longer, by the dramatist himself. The plays are looked at and weighed in the light of an extensive body of secondary material: biographies, journalistic comments, theatre criticism, and academic reviews. From the 1930s, Eduardo’s theatre attracted reviews, first in the Neapolitan and then in the national press. A vast collection of this material was made available to me by the Eduardo De Filippo Archive in Naples which has systematically collected all the reviews on Eduardo De Filippo worldwide, and from it we can see that while he is featured on the “spettacolo” pages of the daily newspapers as early as 1932, in an article by Massimo Bontempelli, who claimed that he was addicted to Eduardo’s theatre company “ho il vizio della compagnia De Filippo,”4 he was soon promoted in drama journals as well. In 1956 an entire issue of Sipario (n. 119) was dedicated to him and during this period, he began to attract serious attention abroad of critics such as Eric Bentley who claimed in 1951 that Eduardo was the true heir of the commedia dell’arte.5 The English theatre critic was particularly impressed by Eduardo’s atypical and ‘un- Italian’ manner of performing: Eduardo on stage is an astonishment. For five minutes or so he may be a complete let- down. This is not acting at all, we cry, above all it is not Italian acting! Voice and body are so quiet. Pianissimo. No glamour, no effusion of brilliance. No attempt to lift the role 3 During De Filippo’s lifetime, there were nine editions of Cantata dei giorni pari, 1956-1982, with important variants in the 1962, 1971, and 1979 editions. Of Cantata dei giorni dispari, in three volumes, vol. 1 has had eleven editions, 1951-1982, vol. 2 has gone through 10 editions 1957-1982, and vol. 3 through five editions, 1961-1982, with important variants in all three volumes in the editions of 1971 and 1979. 4 Massimo Bontempelli, “Cose che accadono-Dischi di Bontempelli,” Il Mattino, 16 June 1932. 5 Eric Bentley, “Eduardo De Filippo and the Neapolitan Theatre,” The Kenyon Review 13 (1951), p. 122. 3 off the ground by oratory and stylization, no attempt to thrust it at us by force of personality.6 Eduardo’s reputation continues to grow. In 1987, three years after the dramatist’s death, Dario Fo, held up his extraordinary acting style as an example for his students: “tutto era inventato in una straordinaria sintesi ed economia […] e t’inchiodava alla sedia.”7 Above all, Eduardo observed and represented a particular aspect of Italian life. It was during the speech at the Accademia dei Lincei, that De Filippo revealed the important role that observation played both for his writing and his acting: Occhi e orrechie mie sono stati asserviti da sempre – e non esagero – a uno spirito di osservazione instancabile, ossessivo, che mi ha tenuto e mi tiene inchiodato al mio prossimo e che mi porta a lasciarmi affascinare dal modo d’essere e di esprimersi dell’ umanità. Solo perché ho assorbito avidamente, e con pietà, la vita di tanta gente, ho potuto creare un linguaggio che, sebbene elaborato teatralmente, diventa mezzo di espressione dei vari personaggi e non del solo autore.8 Just one month before his death, as he accepted the Premio Taormina, Eduardo emphasized the importance of his strong work ethic: “Fare teatro sul serio significa sacrificare una vita. Sono cresciuti i figli e io non me ne sono accorto… una vita di sacrifici. E di gelo: così si fa teatro.”9 It is clear that Eduardo is a special case in the Italian literary panorama because though his works are not autobiographical, they do present a kind of autobiography that is reinforced by the fact that Eduardo is also the actor playing the protagonist who is very close to the dramatist: “Cerco di far sí che le mie tre attività teatrali si aiutino a vicenda, senza prevalere l’una sull’altra e allora autore, attore, e regista collaborano strettamente, animati dalla medesima volontà di dare allo spettacolo il meglio di se stessi.”10 This desire to present oneself in the best possible light may also involve a process of selection, suppression, and reticence, as Francesca Fiorillo 6 Bentley, “Eduardo De Filippo and the Neapolitan Theatre,” p. 121-122. 7 Dario Fo, Manuale minimo dell’attore (Turin: Einaudi, 1987), p. 251. 8 De Filippo, I capolavori di Eduardo, p. VII-VIII. 9 Eduardo De Filippo, “Festa del teatro” (Taormina, 15 September 1984), cited in Isabella De Filippo, Eduardo polemiche, pensieri, pagine inedite (Milan: 1985, Bompiani), p. 30. 10 De Filippo, I capolavori di Eduardo, p. IX. 4 showed in her 1989 doctoral dissertation which compares texts submitted to the censor in the 1930s with those revised in Ogni anno punto e da capo (1971).11 Eduardo’s plays are inseparable from the events of his life and much of the critical discussion of Eduardo’s work is in the numerous biographies that have appeared. One of the biggest hurdles faced by these biographers was the need to separate sentiment from objective critical analysis with a consequent more or less successful outcome. Each potential reader and writer, in fact, was influenced by their own particular memory of their encounter with the author or with one of his plays. Theatre studies is a relatively recent discipline in Italian Universities, with the first such department being established in the University of Rome in 1954. From the beginning, however, Eduardo was a standard part of the curriculum, and a range of useful university-level introductions to his work have appeared. In 1980, Giovanni Antonucci, published the comprehensive introductory reader: Eduardo De Filippo (Florence: Le Monnier, 1980) for audiences first getting acquainted with the playwright. The book provides an interesting history of the literary criticism on Eduardo and reproduces some of the very first newspaper reviews he received, including those by Massimo Bontempelli and Eugenio Ferdinando Palmieri. The book traces the development of Eduardo’s theatre from the early twentieth century, through the post-war period, until the seventies, with the aim to show an Eduardo who defies classification. Another scholar, Andrea Bisicchia, published two years later Invito alla lettura di Eduardo De Filippo (Milan: Mursia, 1982), which presents a chronological summary of Eduardo’s life alongside significant contemporary cultural and historical events. The book analyzes the principal plays according to topics and includes a survey of the major literary criticism. The first complete and highly successful biography was written by a scholar outside the Italian university system, Fiorenza Di Franco. Eduardo da scugnizzo a senatore (Bari: Laterza, 1983) is a chronological itinerary of Eduardo’s artistic career for a general audience.
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