Theater Neapolitan Style: Five One-Act Plays by Eduardo De FilippoTranslated and with an Introduction by Mimi Gisolfi D’Aponte
About the Translator :
Mimi Gisolfi D’Aponte is Professor Emerita of Theatre at Baruch College and the CUNY Graduate Center. Her ongoing scholarship concerns Italian theater, particularly during the twentieth century and with special emphasis on the work of Eduardo De Filippo. Professor D’Aponte is a contributing editor to Western European Stages and a board member of the Pirandello Society of America. She and her husband, Nello D’Aponte, translated Andrea Perrucci’s La cantata dei pastori as Sheperd’s Song (1982). Her work on Italian ritual theatre was published in Italian: Teatro Religioso e rituale della Penisola Sorrentina and la Costiera Amalfitana (1984). She and Jane House translated Federico Tozzi’s L’Incalco as The Casting, anthologized in Twentieth-Century Italian Drama (1995). Her sampling of New York City’s festivals, Celebration City! (1997) was written with Laura Hanson. Professor D’Aponte edited and introduced Seventh Generation: An anthology of Native American Plays (1999).
Theatre Neapolitan Style introduces five one-act plays by Eduardo De Filippo to English-speaking readers and audiences for the first time. Both individually and collectively, these works bring into clear focus the atmosphere and environment of pre- and post-World War II Naples. At the same time they offer the reader/spectator startling glimpses into unforgettable lives and situations – glimpses that record De Filippo’s favorite emblems with marvelous clarity: a Neapolitan setting; a Neapolitan family; a Neapolitan commedia figure. We witness the playwright’s uncanny ability to mix comic and tragic elements simultaneously as romantic courtship prevails despite poverty and infirmity in Philosophically Speaking; a tired marriage and the temptation of youthful flirtation oppose each other in Gennareniello; a government clerk happens upon the demolition of his childhood home in So Long, Fifth Floor; an old actor fantasizes about performing a major role once again in The Part of Hamlet; and a tired salesman learns that his room has been used for the laying out of his deceased landlord in Dead People Aren’t Scary. De Filippo’s one-acts are a gift to theater scholars and practitioners alike. There are hidden blueprints to be discovered in these plays – of character, of plot, and of theme – that anticipate his longer and more celebrated works. The reaction of one American actor after performing in a staged reading of Gennareniello applies to the others as well: “The play reveals itself through many layers. It is an actor’s dream…the deeper meanings and suggestions flow out with each new encounter with the work.” Read an Interview with the author: Read a review of this book:
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ISBN 0-8386-4035-4
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