No CrossRef data available.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
Published online by Cambridge University Press: 14 February 2022
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?
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.
Please note a has been issued for this article.