Saturday, Sunday, Monday a Play in Three Acts

Hall, Willis

WATERHOUSE, Keith

De Filippo, Eduardo

Heinemann

Filumena

Literature & Fiction

Dramas & Plays

Samuel French Ltd.

Theater 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 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.

Theater Neapolitan Style: Five One-Act Plays

D'Aponte, Mimi

UNKNO

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 Filippos favorite emblems with marvelous clarity: a Neapolitan setting; a Neapolitan family; a Neapolitan commedia figure.We witness the playwrights 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 Filippos 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 actors dream; the deeper meanings and suggestions flow out with each new encounter with the work.'

Theater Neapolitan Style: Five One-Act Plays (The Fairleigh Dickinson University Press Series in Italian Studies)

Reference

Fairleigh Dickinson University Press

Napoli milionaria !

Einaudi

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