Relevant bibliographies by topics / De Filippo, Eduardo

Academic literature on the topic 'De Filippo, Eduardo'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "De Filippo, Eduardo"

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Mignone (book author), Mario B., and Gaetano Cipolla (review author). "Eduardo De Filippo." Quaderni d'italianistica 11, no. 2 (October 1, 1990): 325–27. http://dx.doi.org/10.33137/q.i..v11i2.10595.

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Skubikowski, Ugo. "Review: Eduardo De Filippo." Forum Italicum: A Journal of Italian Studies 20, no. 1 (March 1986): 129–31. http://dx.doi.org/10.1177/001458588602000119.

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Snodaigh, Pádraig Ó. "Dán le Eduardo de Filippo." Comhar 45, no. 11 (1986): 28. http://dx.doi.org/10.2307/20556117.

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Massip, Francesc. "Eduardo De Filippo a Catalunya." Quaderns d’Italià 12 (November 3, 2007): 53. http://dx.doi.org/10.5565/rev/qdi.198.

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Taffon, Giorgio. "“Assurdo napoletano”: Eduardo anni Quaranta." Forum Italicum: A Journal of Italian Studies 52, no. 2 (April 17, 2018): 592–99. http://dx.doi.org/10.1177/0014585818757477.

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Il presente contributo vuol riprendere alcune mie riflessioni sulla svolta drammaturgica, tematica e teatrale di Eduardo De Filippo negli anni Quaranta, espresse in particolare in due volumi, Scritture per la scena, del 2001 (coautore Marco Ariani), e Maestri drammaturghi nel teatro italiano del ‘900, del 2005. Intenzione di chi scrive è quella di mettere ulteriormente a fuoco, anche sulla scorta di altri interventi critici e interpretativi più recenti, i modi in cui, partendo da una cultura tradizionale, dialettale, anche “bassa”, e da tipiche basi etnoantropologiche cronotopiche, Eduardo De Filippo ha saputo allinearsi su posizioni di cultura “alta”, fin europea, portando il neorealismo esemplare di Napoli milionaria! all’altezza di autori europei: Camus, Beckett, anche Pinter. E inventando un “assurdo napoletano”.
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De Stasio, Loreta. "Sobre questi fantasmi di Eduardo de Filippo." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 7-8 (June 27, 2021): 395–403. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.19977-85642.

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Lezza, Antonia. "Viviani and the others: Scarpetta, Pirandello, and Eduardo and Peppino De Filippo." Forum Italicum: A Journal of Italian Studies 48, no. 3 (September 4, 2014): 562–82. http://dx.doi.org/10.1177/0014585814542778.

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This article reconstructs Raffaele Viviani’s ties with some of the greatest representatives of 19th and 20th century Italian theater, dwelling in particular on his relationships with Scarpetta, Pirandello, and Eduardo and Peppino De Filippo. The tools for such an investigation are letters and theatrical reviews. In order to highlight Viviani’s relationship with the theatrical scene of his time and with the preceding dramaturgical tradition, the article illustrates Viviani’s close relationship with Luigi Pirandello. In the space of a 20-year period, Viviani performed and transposed into the Neapolitan dialect three of Pirandello’s plays: La patente (1924), Pensaci, Giacomino! (1933), and Bellavita (1943). The analysis of this relationship dwells not only on the novel and effective linguistic operation carried out by Viviani compared with the original texts (in the case of transpositions/rewritings), but also draws attention to the system of characters in Viviani’s theater that have a Pirandellian origin, such as Don Mario Augurio (from the play by the same name) and Giovanni Scardino ( Fuori l’autore). Moreover, the article examines Viviani’s interest in Eduardo Scarpetta; in 1940, Viviani staged Scarpetta’s indisputable masterpiece, Miseria e nobiltà. Finally, the article considers Viviani’s relationship with Eduardo and Peppino De Filippo. The unusual relationship Viviani had with Eduardo De Filippo, a kind of ‘relationship/non-relationship’ that had its basis in the different poetic choices of the two men, is analysed.
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Adamo, Giuliana. "Eduardo De Filippo – Elio Nissim: frammenti di un'amicizia." Italianist 16, no. 1 (June 1996): 376–93. http://dx.doi.org/10.1179/ita.1996.16.1.376.

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Zangrilli, Franco. "Eduardo De Filippo by Mario B. Mignone (review)." Modern Drama 29, no. 1 (1986): 139–41. http://dx.doi.org/10.1353/mdr.1986.0060.

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Fischer, Donatella, Barbara de Miro d'Ajeta, and Edoardo Esposito. "La figura della donna nel teatro di Eduardo De Filippo." Modern Language Review 99, no. 3 (July 2004): 804. http://dx.doi.org/10.2307/3739066.

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Dissertations / Theses on the topic "De Filippo, Eduardo"

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Fischer, Donatella. "La rappresentazione della famiglia nel teatro di Eduardo de Filippo." Thesis, University of Strathclyde, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400329.

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Nicolin, Diego. "Dramaturgo - ator - diretor: a comédia trágica de Eduardo de Filippo." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9447.

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A presente tese parte das origens milenares do teatro napolitano e passa através do anti-herói homérico e picaresco para abordar o modus operandi do Pulcinella, máscara que funde em si o eo ipso do povo napolitano. O trabalho se propõe a criar uma conexão, uma ponte imaginária e analógica entre Bahia e Nápoles em que o drama de Eduardo de Filippo emerge e forma um elo entre as duas culturas. O estudo da biografia de Eduardo De Filippo revela um autor integrado na mentalidade napolitana: a gênese da sua comédia surge como um espelho fiel do povo dessa cidade com que ele tanto se identifica. O curto período do neo–realismo italiano e as suas interseções com a tradição napolitana constituem o fio condutor, o lastro sobre o qual se fundamenta a segunda parte do trabalho que abrange, e não poderia ser de outro jeito, também alguns aspectos do cinema italiano pós Segunda Guerra. A experiência de De Filippo no cinema se estende ao longo de toda sua vida entrecruzando-se intimamente com a sua carreira no teatro e consolidando-o como ator cinematográfico e como roteirista. O terceiro capítulo é focalizado na peça Filumena Marturano (1946), indagando como a figura da mulher é vista e tratada no decorrer da obra de De Filippo. A tradução da peça para o português, as notas e os comentários sobre aspectos da sua dramaturgia e problemas inerentes à sua versão portuguesa, são incluídos neste trabalho para um maior entendimento da obra e sua ponte entre a cultura napolitana e a baiana.
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Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.

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Doctor of Philosophy
This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Gargiulo, Jennifer. "Vivere sul serio: Eduardo De Filippo and the Art of Life." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2169.

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This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Marotta, Antonella. "Pirandello nel teatro di Eduardo." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79793.

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The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).
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Maffia, Enza. "La Tempesta: l\'addio di Eduardo al palcoscenico della vita." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-08082007-141621/.

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O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespeariano
The thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one
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Bussi, Célia. "Eduardo de Filippo, de l'écriture interprétée et mise en scène par l'auteur aux libres interprétations de ses oeuvres." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030123.

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Eduardo De Filippo, homme de théâtre napolitain qui a traversé presque tout le vingtième siècle, possédait plusieurs compétences qui s’influençaient réciproquement : dramaturge, comédien et metteur en scène, il dirigeait également sa propre compagnie et son théâtre, le San Ferdinando. Dans ce contexte, les metteurs en scène se sont trouvés impressionnés, voire inhibés, par ce multiple investissement mais aussi par une oeuvre de portée universelle, toujours à la lisère entre le comique et le tragique. Notre recherche vise à comprendre les raisons de cette crainte et à explorer les différentes façons d’affronter les pièces du maître napolitain. Dans notre première partie consacrée à Eduardo De Filippo, nous avons fait ressortir la figure d’un artiste complet et nous avons essayé de mettre en évidence la distance que le metteur en scène prenait à l’égard de ses propres textes ainsi que le rôle joué par la scène dans l’écriture de ses comédies. Nous avons ensuite, dans les deuxième et troisième parties, orienté notre étude sur les choix effectués, à partir du milieu des années 80 – c’est-à-dire après la mort de l’auteur –, par les metteurs en scène et comédiens, lors du passage du texte à la scène. Notre deuxième partie porte sur une première approche intéressante des comédies du dramaturge : interpréter le texte – à savoir les didascalies et le dialogue –, en proposant un jeu personnel et en pensant différemment la psychologie des personnages et le décor. Notre troisième partie met en lumière les interprétations novatrices des metteurs en scène et comédiens qui osent remanier l’écriture et/ou la structure dramaturgiques de l’oeuvre d’Eduardo De Filippo
Eduardo De Filippo is a Neapolitan man of the theatre who went through the whole of the twentieth century, endowed with mutually enriching skills : he was a playwright, actor and director all rolled into one, he also managed his own company and his own theatre, the San Ferdinando. In that context, directors were impressed, even inhibited by so much involvement, but also by a work of universal impact, always on the borderline between comedy and tragedy. This dissertation aims to investigate the reasons of such fears and endeavours to explore the different ways of facing the Neapolitan master’s plays. The first part is devoted to Eduardo De Filippo, presented as a complete artistic figure : it explains how, as a director, he stood back from his own texts and shows how he used the stage when writing his comedies. Then, the second and the third parts focuse on the choices made by the directors and actors from the middle of the eighties – once the playwright had passed away – , when they started to adapt his texts for the stage. The second part consists in analysing a first interesting approach of Eduardo De Filippo’s comedies : how to interpret the text – that is to say the stage directions and the dialogue – by adopting a personal acting and by rethinking the psychology of the characters as well as stage setting. Our third part highlights the new interpretations of the directors and actors who dare to modify the writing and/or the dramatic art structure of Eduardo De Filippo’s work
Eduardo De Filippo, uomo di teatro napoletano che ha attraversato quasi tutto il Novecento, possedeva molte competenze che s'influenzavano reciprocamente: drammaturgo, attore e regista, dirigeva anche la sua compagnia ed il suo teatro, il San Ferdinando. In questo contesto, i registi si sono trovati impressionati, anzi inibiti, per questo investimento molteplice ma anche per un’opera di portata universale, sempre in bilico tra il comico ed il tragico. La nostra ricerca mira a capire le ragioni di questo timore ed esaminare i vari modi di affrontare i lavori teatrali del maestro napoletano. Nella nostra prima parte dedicata a Eduardo De Filippo, abbiamo fatto emergere la figura di un artista completo e abbiamo provato a mettere in rilievo la distanza che il regista prendeva di fronte ai suoi testi nonché il ruolo svolto dalla scena nella scrittura delle sue commedie. Nella seconda e la terza parte, abbiamo poi orientato il nostro studio sulle scelte effettuate, a partire dalla metà degli anni 80 – ossia dopo la morte dell'autore –, dai registi e attori, in occasione del passaggio del testo alla scena. La nostra seconda parte riguarda un primo approccio interessante delle commedie del drammaturgo: interpretare il testo – cioè le didascalie ed il dialogo –, proponendo una recitazione personale e pensando differentemente la psicologia dei personaggi e lo scenario. La nostra terza parte mette in luce le interpretazioni innovative dei registi ed attori che osano rimaneggiare la scrittura e/o la struttura drammaturgica dell'opera di Eduardo De Filippo
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Della, Sala Elisa. "Se una notte bianca di mezza estate Vincenzo De Pretore." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8197/.

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Tritto, Maria. "Il napoletano nel tempo." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8820/.

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Storia di Napoli e il Napoletano nel tempo. Sono partita dalle origini della città, cercando di dare sempre un inquadramento storico-politico delle differenti realtà che hanno segnato la storia di Napoli, e successivamente mi sono soffermata soprattutto sulla formazione del suo dialetto, approfondendo in particolare alcune caratteristiche del napoletano legate alle dominazioni straniere; infine, ho provato a dare un piccolo assaggio della città e del suo dialetto attraverso un personaggio che ne mostra il cuore, Eduardo de Filippo.
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Pastore, Margherita. "Fantômes et fantasmes dans le théâtre "réaliste" d'Eduardo De Filippo." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA016.

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Ce travail de recherche vise à mettre au jour un aspect particulier de l’œuvre d’Eduardo De Filippo (Naples, 1900 – Rome, 1984), à savoir l’intrusion du surnaturel dans la production théâtrale de l’auteur-acteur-metteur en scène. Nous avons structuré notre thèse en deux phases. Nous analysons d’abord l’adhésion de De Filippo au théâtre dit “réaliste”, sa conception de la fonction du théâtre, l’ancrage thématique dans l’Histoire du XXe siècle et dans le vécu personnel de l’auteur ; nous nous attachons à la manière dont De Filippo intègre la tradition littéraire et théâtrale du XXe siècle et propose une autre vision du réel faisant appel aux catégories du fantastique. Puis nous examinons l’espace scénique, lieu de l’ailleurs et du fantasme par excellence, dans les différentes composantes de la scène (scénographie, objets), du jeu actoriel (la parole, la corporéité, le personnage et le fantôme) et du contrat spectatoriel pour mettre en lumière la relation que tous les participants au spectacle entretiennent avec le surnaturel. Enfin, nous mettons à l’épreuve de l’analyse la traduction sur scène des problématiques liées au fantôme et au fantasme dans deux interprétations exemplaires et très différentes de La grande magia : celle de Giorgio Strehler au Piccolo Teatro de Milan en 1985 et celle de Dan Jemmett à la Comédie-Française en 2009
This research work focuses on a specific point of Eduardo De Filippo’s work (Naples, 1900 – Rome, 1984), that is to say the irruption of the supernatural in the production of the author-actor-stage director. We have structured our thesis in two phases. We first analyse the authors’s compliance with the so called « realistic » theatre, his vision of the role of theatre, the thematic foothold in the 20th century history and in his personal experience ; we are concerned with how De Filippo integrates the literary and theatrical tradition of fantasy and offers a realistic vision appealing to the Fantastic categories. Then we investigate the stage space as an ideal place for fantasy and fantasies, we examine the stage varied components (stage design, objects), the acting of the actors (voice, corporeality, the character and the ghost) within the stage-audience conventions to bring to light the particular link that all those who participate to the performance maintain with the supernatural. Finally, we study the process of traduction on stage of problematics linked to ghost and fantasy in two remarkable and very different interpretations of La Grande magia : the one by Giorgio Strehler at the Piccolo Teatro of Milan in 1985 and one by Dan Jemmett at Comédie-Française in 2009
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Books on the topic "De Filippo, Eduardo"

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Franco, Fiorenza Di. Eduardo di Filippo. Roma: Gremese Editore, 2000.

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Eduardo De Filippo. Acireale: Gruppo editoriale Bonanno srl, 2014.

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Il teatro di Eduardo De Filippo. Pozzuoli (Napoli): Photocity, 2013.

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Sabatini, Wais. Eduardo, laicismo e religiosità: La visione religiosa in Eduardo De Filippo. Campalto (Venezia): La gondola, 2000.

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d'Ajeta, Barbara De Miro. Eduardo de Filippo: Nu teatro antico, sempre apierto. Napoli: Edizioni scientifiche italiane, 1993.

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The theatre of Eduardo De Filippo: An introductory study. New York: Vantage Press, 1993.

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Eduardo De Filippo tra adattamenti e traduzioni nel mondo anglofono. Napoli: Edizioni scientifiche italiane, 2012.

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8

d'Ajeta, Barbara De Miro. La figura della donna nel teatro di Eduardo De Filippo. Napoli: Liguori, 2002.

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9

Eduardo, De Filippo. Sik-Sik, l'artefice magico: Atto unico di Eduardo De Filippo. Napoli: Guida, 2013.

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10

Esposito, Edoardo. Eduardo De Filippo: Discours et théâtralité : dialogues, didascalies et registres dramatiques. Paris, France: Harmattan, 2004.

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Book chapters on the topic "De Filippo, Eduardo"

1

Wild, Gerhard. "De Filippo, Eduardo." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3338-1.

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Staffler, Hermann. "De Filippo, Eduardo: L'arte della commedia." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3339-1.

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Fischer, Donatella. "Strong Women and Nontraditional Mothers:The Female Figures in Napoli Milionaria! and Filumena Marturano by Eduardo de Filippo." In Women in Italy, 1945–1960, 211–23. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9780230601437_14.

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Fischer, Donatella. "Introduzione." In Il teatro di Eduardo De Filippo, 1–13. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-1.

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Fischer, Donatella. "La frantumazione della famiglia: Natale in casa Cupiello." In Il teatro di Eduardo De Filippo, 14–36. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-2.

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Fischer, Donatella. "La famiglia attraverso la guerra: Napoli milionaria!" In Il teatro di Eduardo De Filippo, 37–67. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-3.

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Fischer, Donatella. "Una famiglia alternativa e la sfida alla paternità: Filumena Marturano." In Il teatro di Eduardo De Filippo, 68–91. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-4.

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Fischer, Donatella. "La famiglia fra realtà e allucinazione: Questi fantasmi!" In Il teatro di Eduardo De Filippo, 92–115. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-5.

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Fischer, Donatella. "La crisi della figura paterna: Mia famiglia." In Il teatro di Eduardo De Filippo, 116–41. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-6.

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Fischer, Donatella. "L’ultima grande invettiva: Gli esami non finiscono mai." In Il teatro di Eduardo De Filippo, 142–67. Routledge, 2017. http://dx.doi.org/10.4324/9781351195119-7.

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