If you have never seen Naples, suggests a proverb, it is still early to die. Maybe I will be part of because I was born, but this city is a stage. It drags along the arduous path problems and hardships that are destroying, but by living in a comic spirit standing in the light of an eternal and laughter therapy. Not even a grumpy Gogol ', who was among those who loved Naples, could give the gaiety of the streets, to the theatricality inherent in its people, the color of the dialect and the comforting sense of who speaks it. De Filippo was one of the greatest interpreters of Naples after the war. In his work we have to tolerate the ambiguity that makes room in Chekhov: representations are called comedies and tragic love of life, where the word disappears in the folds of the suspect. Who has something to transmit dies, as Cupiello as Zi 'Nicola. But we smile and laughter, Edward seems to say, the eternal Neapolitan rice saves us and regenerates, taking away even for a moment of hunger, poverty, guilt and deceit, all the distressing problems that have undermined even this in Naples is the most sacred, the family unit. The family of De Filippo prepare the tragedies, but do not communicate, does not speak the truth comes to light only because of rumors of porters and maids, or strange coincidences. Or, in contrast, fake news generated by dreams indistinguishable from reality, voices within, can induce all members of a family, including waitress, to accuse one another of a crime that was never committed, when in fact it would be enough to meet and talk. It happens in this work of Edward in 1948. At Piccinni was one of the highlights of the drama season: Luca De Filippo is leading the tour in Italy for two years, directed by Francesco Rosi and the striking scenery of Enrico Job. The old chairs piled up in his house Saporito, where he and his two brothers Albert and Charles live zi 'Nicholas, the only one who really knows how to communicate, but that does not speak except by shooting fireworks or false by marking with spit, these old chairs just are among the most important images of the play. Reduced waste material waiting to be sold, are also in families, indicating that more "normal" is no longer used to talk, to communicate and grow together, to stand around a table. The chair has become a useless object, which get rid of old and while the characters walk in the grip of anxiety and suspicion, defending himself with grief and hurling accusations. "Assassins," tell them Albert Saporito. Assassins because despite not having killed anyone you have behaved as if you had done, seeking isolation instead of the combination. Built on find irresistible comic entries in a comedy is prophetic. We laugh and ponder. Or rather, we laugh so much, we should think more.
