"variety [varje'ta]
sfinv.
1 sf
the quality of different things to each other or just different in some particular aspects
3 sf
every single object or individual with characteristics that differ by others of the same species
theater of character light consists of numbers of various kinds "
Wikipedia, the voice Variety, says: "The variety theater, or theater arts varies , is a kind of theater of character light up at the end of the nineteenth century Naples as an imitation of Café- Chantant French. [...] The fact variety sinks its roots in the show and performances of folk artists circus of road and singers. [...] disappeared from theaters to join in ' first vaudeville and then in the magazine, which still keeps in television variety shows only the name. "
The native Neapolitan Variety therefore, being the result of what in Naples was a natural absorption and adaptation of French culture: French Naples has been two times in its history (1266/1442 and 1806/1816 ), and for a relatively short period compared to the English domination (lasting a total of almost four hundred years ), but the influence of the Alps has been vast and significant.
engaging in long disquisitions about cultural influences and / or language would be out of context, and moreover require a separate blog!
then I will refer to small samples and short bursts, so as not to arrive unprepared for the confrontation with the script of "Dreaming of the Variety."
Be an example for the theatrical context, the experience of Eduardo Scarpetta, that since 1880, has reinterpreted in the middle-class Neapolitan French farce of the time: we remember, among many others, Mademoiselle Nitouche " Weilhac of Milland and become" 'Na Santarella ", and" La Boule "by Meilhac Halevy and become " 'O Scarfalietto .
French habits are so fashionable in the nineteenth century Naples, in dress, speech and culture of coffee in attendance or not, even for the aftermath of the century Murat.
The figure of the chanteuse (singer from = chanteuse in French) for example, is born in that period , with the emergence of the Variety Entertainment, usually a past built to make ad hoc their presence intriguing and mischievous, they spoke with foreign accents (French, Russian or English for the most part) to suggest that a exoticism that did not belong and boasted of their love stories with the jet-set (perhaps only glimpsed in the audience). That figure remains entrenched as the typological character of the Neapolitan
female, so as to fall right into the mirror of Naples who was the " Carosello Napoletano" Giannini, played by Sophia Loren . variety of spaces were basically three types: the theater of the first order, where you only recite the artists recognized, and the theaters of the second or third order that they could be salt coffee (café-concert as the Gambrinus Naples ) or theaters real but very popular, and finally all those local where he could be set up at a good stage.
The entrance fee was an artist and the success of the decree only if the public according to his liking: as a sort of rudimentary auditel if the artist was booed this was "reported" on what could be called "record Art "artist with a consequent loss of respect and prestige.
The range then was very different depending on geographical location, because the artists drew much of their own traditions, but is largely structured in a similar way: the variety show brings together more artists of varying abilities or skill, and the numbers presented were not no connection between them, or thematic or conceptual.
is passed by the Indian magician speck (among many Nicola Maldacea inventor of the genre, Ettore Petrolini and Nino Taranto); chanteuse by the dancers, more or less attractive and good, from end reciter to-change ...
never awarded the title of art, unlike other types of plays, had its recognition in 1913 when he published the Manifesto Marinetti, in which he extolled the novelty of a kind of theater that denying the likelihood preferring instead the spectacular, the Paradoxically, the action and practicality.
Not at all protected by the authorities, and victim of ostracism during the Fascist period (including the forced and imposed nationalism), the variety does not die, but not change, is being reorganized in Review: especially in the interwar years, the Theater Review is a way to dream, to divert thought from the cruelty of war (as in film "Stardust" with Monica Vitti and Alberto Sordi), as when they performed in Showgirl shows for the troops sent to the front in the Great War (see the ' episode of "One day in district court" with Silvana Pampanini). The
-Variety Magazine of the last century has been a bridge, a conduit between two centuries that overlapped and had to communicate.
The transition was abrupt, as it directly into his stomach through the wars, and though the architectural reconstruction, the issue of housing, democracy, 1944 - 1948 are long milestones much more important, the 'Italy is always made by the Italians, and Italians were laughing with the variety before, so now they look like Fiorello on television.
The variety should not be seen as a mere means of entertainment, but more as a ferry cultural types, characters and characteristics of Italy at the turn of the Kingdom and the Republic.
As Eduardo was a verse Ferdinand I of Bourbon, King of beggars and dedicated to convictions and charges, and writing songs inspired by eighteenth-century writing as a weapon of defense, today we laugh at our time. Dust off
sciasse and vest.
Resume piripisse and goose feathers.
We go our bustier, we powdered the face well, and we are on the scene.
prefer to laugh. Also take time. Laughing
of its flaws, this one is worse in the past does not mean to take it less seriously.
"Who chiagne fuck 'to those who ride and those who make the peak, in Naples, is ominous ...
Carmela Esposito
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