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Italian local theatre in the late 1800s - early
1900s was characterised by plays written in dialect. In some regions,
dialectal plays were extremely popular and had a huge following.
From
a very young age, Eduardo Scarpetta
(Naples, 1854-1925) dedicated his career to theatre in the vernacular
and he made his acting debut in 1868.
As
early as 1870, his experience enabled him to create the character of
Felice Sciosciammocca, which earned him great notoriety.
Eduardo
Scarpetta also happened to be the biological father of Titina, Eduardo
and Peppino De Filippo to whom he handed down all his talent.
Of
the many plays written by Scarpetta we remember “Lo Scarfietto”
(1881), “Santarella” (1889) and his widely known masterpiece
“Miseria e Nobiltà” (1888).
The
plot is based on the vicissitudes of Pascale, a travelling “healer”
sinking deeper and deeper into trouble with the advent of official medicine.
He
shares his penniless existence with his wife Concetta, daughter Pupella,
fellow tenant Felice Sciosciammocca, a street clerk ruined by the spread
of obligatory schooling, Luisella, his live-in lover and Peppeniello,
Sciosciam--mocca’s son.
They
all live in absolute destitution. Luigino, son of Don Gaetano, an ex-cook
who becomes wealthy when his master dies and leaves him some money,
loves Pupella and determines to speak to Pascale, the girl’s father.
At
the same time, the young marquis Eugenio comes to ask a favour: he is
hopelessly in love with Don Gaetano’s daughter who will only grant her
hand in marriage if Eugenio’s noble father and aunt show their consent
with an official visit. The marquis asks Pascale and the others to impersonate
the nobles in return for eating their full for several days.
The
proposal is eagerly accepted by all. The most hilarious part of the
comedy is when the starving commoners have to act as nobles in front
of Don Gaetano who, fortunately, is unfamiliar with the manners and
etiquette of the aristocracy. Misunderstandings are rife, blunders abound
and the full force of comedy comes through.
Whilst
Scarpetta’s light, humorous plays are hardly the work of a great scholar,
Salvatore Di Giacomo (Naples, 1860-1934)
was the author of erudite texts inspired by novels or groups of sonnets.
He
was a fierce, controversial opponent of Scarpetta’s French imitative
theatre and in his dramas of primitive passion, the characters’ instincts
prevail sometimes to the detriment of deep psychological analysis.
But
if the atmosphere surrounding the characters remains unexpressed or
nebulous, Di Giacomo still succeeds in creating that extra something
that makes him a leading Parthenopean dramatist.
Di
Giacomo is also known as a dialectal playwright, using an authentic
language that enables actors to get into their parts and bring everyday
life onto the boards of the stage.
His
plays are “O Voto” (1889), “O Mese Mariano” (1898) and
the celebrated “Assunta Spina” (1909). The Parthenopean dialect,
normally spoken by the poorest social categories, becomes a spontaneous
language with an immediate impact, thanks to careful observation of
popular customs and theories.
In
“Assunta Spina”, Michele disfigures his beloved Assunta, a young clothes
presser, in a fit of jealousy and is brought before the court. In the
first act, we witness the trial: even though the woman withdraws the
accusation out of love, Michele is sentenced to two years in jail.
After
the sentence, Assunta feels lost, not knowing whether Michele will remain
in Naples or whether he will be taken elsewhere.
Enter
Federigo, who, in exchange for the woman’s favours, prevents him being
transferred to another jail. Nearly two years elapse and meanwhile,
the relationship with Federigo continues. Yet, Assunta feels she belongs
to Michele, who is released on good conduct and returns home.
To
start with, Michele is almost indifferent to his lover’s affair, but
Assunta manages to cloud his mind with rage and coldness and drives
him to stab Federigo to death.
(traduzione
Interpres sas-Giussano)
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