The literary review “Platealmente dal libro alla scena” (Plateally from the book to the scene) ended the other evening with the presentation of the book “Al lavoro con Eduardo”, published by Guida Editori and edited by the art critic of La Repubblica Giulio Baffi. Since January 11th, it has entertained a large audience at the Teatro Karol in Castellammare di Stabia with the four scheduled events.
“Working with Eduardo” tells the story of the great Maestro De Filippo through forty-five faithful and passionate testimonies of those who have been artistically at his side and have had the privilege of receiving his teachings.
On the stage of the Karol, the journalist Pierluigi Fiorenza interviewed the author Giulio Baffi and some of the witnesses present: the actors from Castellammare di Stabia Giuseppe De Rosa, Gianfelice Imparato and Anna Spagnuolo. The latter in the role of reader, but who halfway through the evening also delighted the audience with her splendid voice - without instrumental accompaniment - singing the song "Uocchie c'arraggiunate", a song that De Filippo adored.
Spagnuolo herself kicked off the meeting with the interpretation, rather than the reading, of an excerpt from a letter from Isa Danieli to the Maestro. “Almost a love letter”, this is the title given to it by the author in the book, which ends with a “Thank you from the heart” overflowing with affectionate gratitude.
Many famous names enrich the pages of this evocative volume, created by Baffi with the intent of celebrating “a birthday party” for Eduardo 120 years after his birth. Marina Confalone, Marisa Laurito, Carla Fracci, Vincenzo Salemme, Antonio Casagrande – among many others – introduce the reader to the knowledge of an unpublished Eduardo. The well-known fame of an inflexible, rigorous Maestro is associated – thanks to the power of memory – with the reality of a humble man who respected his actors, who did not hesitate to recognize them as colleagues rather than simple students.
Aspect of De Filippo's personality that those present at the Karol were able to detect from the vivid image drawn by Gianfelice Imparato "Eduardo's character was like this: inflexible, he did not allow for replies. However, all the anecdotes of Eduardo being ferocious, bad, sadistic...at least I, I think Peppe De Rosa and all the other young people who were in his company, did not notice it. He was a very generous, attentive man. He kept his distance, we young people called him Maestro.
But the third time we called him Maestro, he would say: “My name is Eduardo”. However, on the advice of Franco Folle – the only older actor who passed through the company at that time – we called him Direttore. He was very hard on those who were mellifluous, on those who tried to get into his good graces with unclear methods.”
During the evening, Baffi, through his experience as a critic in the field, outlined, with method and clarity, the figure of Edoardo, as someone who left a strong mark on theatrical literature. The public adored the Maestro and, for young people who had to assert themselves, he was the greatest common denominator in the history of theater. Even subsequent dramaturgy, while enjoying a certain autonomy, had to deal with his writing.
The Neapolitan theater, before Eduardo, boasts illustrious names such as that of the Stabia Viviani, with whom they wanted to forcefully create an otherness, completely unfounded for very specific reasons. The two illustrious artists are in fact very different in language, in ways, and in absolutely non-coinciding times.
Viviani precedes De Filippo's work by a little, but - Baffi emphasizes - before a revolution that brought about a profound change on the stage. De Filippo's intuitions are many, continues the author, first of all The language, which can be defined as invented. Not a language, not Neapolitan, but what many would have spoken later. Viviani and De Filippo cannot be placed in antithesis, nor can they be compared, they can instead be defined as two illustrious protagonists of the theatrical scene.
The second prophetically grasped the crisis of the great structure represented by the family, which we are experiencing today. It almost seems as if some of Eduardo's comedies were written yesterday, precisely because of the strength and commitment the artist put into this futuristic vision of life.
Full of admiration and respect was the story of the actor Giuseppe De Rosa, who clarified how since he was a child he was attracted by the artistic power of the protagonist of the evening. His family constantly cultivated the passion for him and never missed a single comedy of his broadcast on television.
For this reason, when he discovered his talent for the theatre as an adult and, thanks to his acquaintance with his son Luca, found himself in the presence of the Maestro – almost forty years ago – for a conversation, although he felt a significant amount of awe, he felt like he was talking to a member of the family.
“…he stopped and said: “go and sign”… I was petrified and I said: “do I have to go back, to Luca?”..yes yes go to Luca (because he spoke with the “you” to anyone). So he made me sign the first contract on “Donna è mobile!” This is a memory that has always accompanied me, especially his irony.”
“A lavoro co Eduardo” is therefore a text that aims to entrust to the new generations the myriad of memories linked to the great Eduardo, who has given so much to them in terms of experience in art. A piece of history whose knowledge of his theatrical work remains an important reference for anyone who wants to approach this reality.
Annamaria Cafaro
EDITORIAL TEAM
Choose the social channel you want to subscribe to