Peppino Girella: Eduardo and the television series Eduardo De Filippo arrives to television since the early years of its foundation. Since 1955, and until the early 60s, the Neapolitan artist grants the newborn RAI to resume live some plays in the theater, realizes six telefilms drawn by unique actions and produces two television versions of his plays. However, Peppino Girella is the first production conceived since its genesis for the television, a series in six episodes. On the background of an Italy stunned by the economic growth, Eduardo describes the visible lines of the change (in the characters, situations and language) comparing them with permanent difficulties in Neapolitan area in the years of the reconstruction (the problems of child labor, unemployment, social rescue etc.). The television series (written by Eduardo with Isabella Quarantotti) uses the potentialities of the new mean of communication to illustrate situations that reflect the historical moment, the Italian contradictions of the economic growth. This new kind of television series is different from the others mostly inspired to the great historical and literary narrations. Nevertheless, Eduardo shape a new generation of actors who, though mostly from the scene, inaugurating a style of interpretation that moves away from both the theater and the cinema.
Peppino Girella. Eduardo e lo sceneggiato televisivo
SAPIENZA, Annamaria
2017
Abstract
Peppino Girella: Eduardo and the television series Eduardo De Filippo arrives to television since the early years of its foundation. Since 1955, and until the early 60s, the Neapolitan artist grants the newborn RAI to resume live some plays in the theater, realizes six telefilms drawn by unique actions and produces two television versions of his plays. However, Peppino Girella is the first production conceived since its genesis for the television, a series in six episodes. On the background of an Italy stunned by the economic growth, Eduardo describes the visible lines of the change (in the characters, situations and language) comparing them with permanent difficulties in Neapolitan area in the years of the reconstruction (the problems of child labor, unemployment, social rescue etc.). The television series (written by Eduardo with Isabella Quarantotti) uses the potentialities of the new mean of communication to illustrate situations that reflect the historical moment, the Italian contradictions of the economic growth. This new kind of television series is different from the others mostly inspired to the great historical and literary narrations. Nevertheless, Eduardo shape a new generation of actors who, though mostly from the scene, inaugurating a style of interpretation that moves away from both the theater and the cinema.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.