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FILUMENA MARTURANO
According to the longest, most meticulous and beautiful caption ever written from Eduardo, the most celebrated heroine of his theater appears on stage as the last lights of day fade. She is standing on the threshold of the room from bed, her arms folded in an act of defiance; in her shirt from night, bare feet in her slippers scendiletto, hair in disarray, with a few gray strands denouncing all her forty-eight years and an "attitude from wounded beast, ready to to take the leap over her adversary." Domenico Soriano is in the opposite corner of the room and the stage, as if in an ideal boxing ring. He is a handsome, solid, youthful 50-year-old, who has enjoyed life on the money from the bakery left to him by his father. from young man they called him Don Mimì (after Eduardo Scarpetta's gaudy son) and he was famous for horses, women and whimsy. Now he stands there, pajama pants and jacket summarily buttoned, "pale and convulsing in front of to Filumena, to that woman "from nothing" who for so many years has been treated from him almost like a slave and who now holds him in her grasp." In the other two corners of the room, waiting-they look like the "seconds" of boxers about to face each other-are Rosalia Solimene, a woman of the people who from always helps Filumena, and Alfredo Amoroso, "who sums up his master's entire past."
Domenico is furious because Filumena, a former prostitute who from has been living with him for years as the most patient and submissive of wives, managed to to wrest a marriage from him, making him believe that he was on the verge of death. Then, after those nuptials in articulo mortis, she had leapt from her bed, healed and fiercely satisfied that she had resumed her rightful place in the home that for so many years she had helped to prosper. to that extreme stratagem had resolved itself because, after a thousand adventures from she endured in silence, her man now wanted to give her the cold shoulder, to marry a girl in her 20s. And that was not all, because in a startling revelation she had told of having three secret children, already grown up, and moreover raised to nanny thanks to stolen deniers to Soriano. The latter flew into a rage, declared that the marriage had been stolen from him by deception and obtained its annulment.
Then the indomitable Filumena falls back on another, more subtle ruse: one of the three young men is Domenico's son. Which one? The woman leaves the house, her house, taking the secret with her. Domenico, gripped by the most anguished curiosity, begs her to reveal the truth to him; but in the meantime he rediscovers all the woman's human qualities. And in order not to let his son slip away, he agrees to to get rid of his fiancée, to marry - this time for real - Filumena and to take the three young men into his home. But not even as a wife will Filumena reveal the secret. Mother of all three, she will not accept that one of them enjoys any privilege. Thus, in the end, Domenico will accept them all serenely, repeating her words, "'E figlie so' ffiglie... E so' tutti eguale... You are right Filume', you are right!"
Maurizio Giammusso_ from "Life of Eduardo," Elleu_ Editions.
Filumena Marturano-perhaps the best-known postwar Italian comedy performed abroad-has a central role in Eduardo De Filippo's production, ranking among the first texts of that Cantata dei giorni dispari which, to starting from Napoli milionaria!, collects the most complex and problematic works in which the dramas, anxieties and hopes of a country and a people shattered by the war are poured out.
In the drama of Filumena, who refuses to reveal to her lover which of the three children from she brought into the world is hers, De Filippo declared that he intended to portray an allegory of Italy torn apart and largely impoverished even morally, and to prefigure its dignity and will to redeem itself.
by Eduardo De Filippo
with Mariangela D'Abbraccio and Geppy Gleijeses
directed by Liliana Cavani
scenes and costumes** Raimonda Gaetani**
lights Luigi Ascione
original music by Teho Teardo
and with
Nunzia Schiano
Domenico Mignemi
Gregorio Maria De Paola
Elizabeth Myrrh
Ylenia Oliviero
Augustine Pannone
Fabio Pappacena
Eduardo Scarpetta
assistant director Marina Bianchi
collaborating set designer** Alessandro Nico**
assistant costume designer Sonia Salvatori
stage director Francesco Grieco
chief engineer Gennaro Iengo
chief electrician Rosario D'Alise
head seamstress Rosa Perillo
administrator Nicola Cosenza
finder Barbara Sanfelice
scenography Scenarredo Ltd.
lighting and sound supplier ME.TA. Ltd.
transport Liberato Napoli
Tirelli costumes Ltd.
we thank Rubinacci Napoli for the costumes worn by Mr. Geppy Gleijeses
thanks to Jewel House for the stage jewelry
press office Paola Rotunno
company secretary Maria Lattanzio
administrative direction Ludovica Pagano
executive production and distribution Mariangela De Riccardis
general counsel Mariano Anagni
With the support of the Carpi Savings Bank Foundation
Gitiesse Artisti Riuniti production directed from Geppy Gleijeses
in collaboration with** Spoleto 59 Festival of 2Mondi**
Neapolitan, she made her theater debut in Luca De Filippo's company directed from Eduardo De Filippo. She became a protagonist of our theater working with, among others, to Giorgio Albertazzi in_ Il Ritorno di Casanova_ by to. Schnitzler, Luca De Filippo in Napoli Milionaria directed from F . Rosi - Persephone Award 2004 best show - Arturo Brachetti, Valeria Moriconi in Filumena Marturano. She is Maria Stuarda, directed by F. Tavassi, and Camille Claudel by D. Maraini, Sunshine by W. Mastrosimone, directed by M. Mattolini. She is La Gatta sul Tetto che Scotta and Serafina from The Tattooed Rose by T. Williams and Anna Dei Miracoli by W. Gibson directed by F. Tavassi, characters of strong and passionate women. Lady Macbeth, Gertrude, the queen in W. Shakespeare's Hamlet, Beatrice in Much Noise for Nothing and The Duchess of Amalfi. She won the Flaiano Award as best actress for_ Sei personaggi in cerca d'autore _by L. Pirandello, directed by Patroni Griffi. In cinema she is directed from Zeffirelli, Benigni, Veronesi, Del Monte, Vanzina, Greco. For Sony music she records the CD Il Cuore di Totò. She dedicates the concert-show Amarafemmena to Neapolitan song. This is followed by Anima latina, touring Argentina, Chile, Portugal to to Naples, and Napoletana new concert-show for London, 2012 Olympics. For Asti Teatro and Taormina Arte 2011 she is Teresa la ladra by D. Maraini with original music and songs by S. Cammariere, directed by F. Tavassi - Persephone Award 2012 as best female performer theater song. Won the 2010 Gassman Award -best performance- for La Strana Coppia, directed by F. Tavassi. Directed from to . Pugliese performs W. Allen's The Floating Light Bulb. In 2012 he brings to the stage Marilyn Monroe Fragments, directed by C. Giordano. He releases his second record from from Teresa the Thief. He returns to Eduardo De Filippo with Eduardo al Kursaal, directed to. Pugliese. Debuts at Festival dei Due Mondi After the Silence by F. Niccolini and M. Rubino, directed to. Pizzech. Releases his third CD, E chi mo canta appriesso to me, South Pole production. At the Ravello Festival, in Borges Piazzolla, he performs songs by the Argentine musician and shares the stage with G. Albertazzi, directed by F. Tavassi.
Actor, director and theater producer. Debuts to 17 years old together to Mario Scarpetta in Aristophanes'_ Clouds. In '74 Eduardo wanted him to play his role in Il figlio di Pulcinella_ directed by Bogdan Jerković for the Parma Collective, and in '75 he himself to asked Eduardo if he could play and direct Chi è cchiù felice 'e me? and Gennariniello. Eduardo not only agrees, but in a series of meetings at his home in Via Aquilea he gives him pointers on direction and interpretation. The play is a great success: it is May '75. "Paese Sera" headlines, "Eduardo revokes veto on his plays for a 20-year-old." In '80 he writes Pupella Maggio, becoming Italy's youngest head comedian, with_ Il voto_ by Salvatore Di Giacomo, directed by Virginio Puecher. In 83 he founded Gitiesse, his current production company. In 1984 with Alida Valli and Marina Malfatti he performed Albert Camus' Il Malinteso, directed by Sandro Sequi. Also in '83 Gleijeses was engaged in the filming of _Il caso Ettore Grande _for Rai Uno in the title role, directed from Riccardo Tortora and Marisa Malfatti. In '86 he founded the Acacia Theater to Naples; in '93 he was director of the Teatro Nazionale in Milan; in '99 he founded the Teatro Stabile di Calabria; since 2003 he has directed the Teatro F. Cilea in Reggio Calabria; and in 2009 he won the European call for tenders issued by Eti for the Teatro Quirino. He has worked in film and television with Cobelli, Luca and Luigi De Filippo, the Taviani brothers, Sordi, Tognazzi, Brignone, Ranieri, Patroni Griffi, Servillo, Danieli, Girotti, Girone. In theater he has been directed by, among others, from Squarzina, Monicelli, Guicciardini, Missiroli, Proietti, Caprioli, Pugliese, Calenda, Shammah, Marcucci, Arias. Among the many criticisms written about him throughout his career: "Gleijeses' Viviani is a Miracle" Franco Quadri, La Repubblica (2000); "He is so good that the rest of the company is annihilated" Masolino D'Amico, La Stampa (2005); "Geppy Gleijeses proves on stage that he is the heir of Eduardo De Filippo" Ugo Ronfani, Il Giorno (2007); "All this is rendered by protagonist Geppy Gleijeses with an expressive ductility that is worth more than a monograph on twentieth-century literature and ethics" Sergio Sciacca, La Sicilia (2015).
Born to Catania, he graduated from the acting school of his city's Teatro Stabile in 1977. from then participated to more than 80 productions of the Teatro Stabile of Catania, Ater Emilia Romagna, Teatro Stabile of Genoa, Inda Teatro Greco of Syracuse, Teatro Quirino of Rome, working with Turi Ferro, Valeria Moriconi, Mario Scaccia, Ivo Garranni, Eros Pagni, Flavio Bucci, Beppe Pambieri, Tino Schirinzi, Geppy Gleijeses. He was directed from Giuseppe Di Martino, Giuseppe Dipasquale, Giancarlo Cobelli, Armando Pugliese, Roberto Guicciardini, Ennio Coltorti, Lamberto Puggelli. In cinema he has participated to about thirty films, including Nuovo cinema paradiso by Giuseppe Tornatore, I Cento passi,_ La Meglio Gioventù_ by Marco Tullio Giordana,_ My name is Tanino_ by Paolo Virzì. On television he took part to various TV dramas and films working with, among others, Terence Hill, Claudio Amendola, Claudia Gerini, Luca Zingaretti, Philippe Noiret.