La figura del femminiello/travestito nella cultura e nel teatro contemporaneo napoletano ; The figure of female/disguised in topical culture and theatre
In: Cahiers d’études italiennes, 2013
academicJournal
Zugriff:
For decades, Neapolitan culture had, among its top representatives, the femminiello. Expression of a complex mixture of socio/anthropological elements, this character was a crucial part of the social context of the historic center of Naples. The changes that involved Neapolitan culture in the post war period had a deep impact on this character. The mutation happened gradually but, at the end, the femminiello changed into a transvestite. Beside such external changes, it is significant to understand the consequences of the social changes that involved this character. The prevalence of a multiple and cosmopolitan identity of the city imposed the loss of centrality of this character within his cultural context, which meant: the loneliness of the transvestite in contrast to the sociality of the alley, which once used to gather around the femminiello. When, in the early eighties, Neapolitan theater decided to rediscover the basic elements of its popular culture, putting at the centre of its work the streets, the squares, the colors, the sounds of a contemporary Naples, it did not miss to include the character of the transvestite, here conceived as a metaphor of a dark and marginalized city. Examples are Le cinque rose di Jennifer (The red bouquet, 1981) by Annibale Ruccello and Scannasurece (Mouse killer, 1982) by Enzo Moscato. ; La cultura partenopea ha avuto, per vari decenni, quale suo esponente di rilievo il femminiello. Espressione di un mix complesso di elementi socio/antropologici, questa figura era parte integrante del tessuto sociale dei quartieri popolari del centro storico di Napoli. I cambiamenti che dal dopoguerra in poi coinvolsero la cultura partenopea travolsero anche questa figura. La mutazione prese corpo gradualmente, cosicché il ruolo occupato tradizionalmente dal femminiello venne a modificarsi lasciando il posto al travestito. Ma, ancor prima dei mutamenti estetici, è significativo comprendere le conseguenze dei cambiamenti sociali che investirono questa figura. Il prevalere dell’identità ...
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La figura del femminiello/travestito nella cultura e nel teatro contemporaneo napoletano ; The figure of female/disguised in topical culture and theatre
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Autor/in / Beteiligte Person: | D’Amora, Mariano |
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Zeitschrift: | Cahiers d’études italiennes, 2013 |
Veröffentlichung: | UGA Éditions/Université Grenoble Alpes ; Cahiers d’études italiennes, 2013 |
Medientyp: | academicJournal |
DOI: | 10.4000/cei.1198 |
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