GEORGIOS KATSANTONIS
Ph.D. in Modern Literature and Philology, Scuola Normale Superiore di Pisa (Normal School of Pisa). In 2021, his PhD dissertation of Pier Paolo Pasolini's theater was granted the ''P. P. Pasolini Award for Best Doctoral Dissertation''.
M.A. in Literature, Writing and Drama Criticism, University of Naples ''Federico II''.
B.A. in Theatre Studies, Department of Theatre Studies at the University of Patras (Greece).
His research interests include: Phenomenology of Power in Pasolini's Works, Comparative Literature with an Emphasis in Drama, Philosophy, Anthropology, Sociology, Holocaust Narratives, Postdramatic theatre, Critical social theory.
M.A. in Literature, Writing and Drama Criticism, University of Naples ''Federico II''.
B.A. in Theatre Studies, Department of Theatre Studies at the University of Patras (Greece).
His research interests include: Phenomenology of Power in Pasolini's Works, Comparative Literature with an Emphasis in Drama, Philosophy, Anthropology, Sociology, Holocaust Narratives, Postdramatic theatre, Critical social theory.
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Papers by GEORGIOS KATSANTONIS
wheel of a Fiat 1100. The pretext is a reportage commissioned by Success magazine,
accompanied by Paolo Di Paolo's photographs. The book partakes of a special category of the
diary, it purports to be a record of the ‘geography’ of his country, not yet devastated by what in
the mid-1970s he would have called 'cultural genocide'. Pasolini follows himself by doubling
himself, writing about himself, his journey, his "adventure", which becomes a census and
testimony of a world that is disappearing as dimly as "the fireflies" of his famous 1975 article.
In The Long Sand Road the narrative focuses, as it often does in reportage writing, on a
particular signifier, which concentrates a broader content regarding place and atmosphere.
Often the focus is on individual human figures, who become symbols of something that
includes them but does not exhaust them, or on a specific and dense aspect of those who
inhabit the places, with the use of a somewhat cinematic gaze.
Pasolini's inspired pen, put to the wringer, restores the unrepeatable image of an Italy
suspended between the enchantment of innocence and the momentum of the boom, the now
slight now cumbersome legacy of the past and a dreamy vision of the future. All this is diluted
within a backdrop overflowing with nature, which is sometimes a backdrop, sometimes a
metaphor, and sometimes a symbol of eternity opposed to the ephemeral flow of change. The
writer identifies with and delights in the culture and landscape that remain removed from the
incipient standardization of consumerism and industrial society. The cities, the settlements of
man, are contrasted with the signs of nature: sheer coastlines, high nights, raging suns,
expanses of Mediterranean scrub. Through the analysis of his narrative and private writing,
this study investigates the evolutionary modalities of an ethnographic 'diarism' that relates to a
wide textual congeries connoted by autoethnographic contemplation that punctuates
'experience', explores it, rethinks it to the point of recasting it in an inventive and interpretative
plot of personal and historical reality. Unique in Pasolini’s body of work, this hybrid genre —
journalistic, diaristic, conversational, impressionistic— gives us an extraordinarily and
unusually serene and happy Pasolini, far from excessive sociological and anthropological
reflections, who rediscovers Italy even more beautiful tthan he already thought it was, but
above all he discovers the South and is fascinated by it, for better or for worse; he discovers a
contradictory, yet coherent South with its own history, political and cultural.
A diaristic poetics is thus delineated as self-awareness and invention, insatiable curiosity, the
autobiographical quality of Pasolini's intellectual depth.
ancient Greek theatre. I will discuss the performance of Maria Callas as the primitive Medea
in Pier Paolo Pasolini's homonymous film. The paper focuses on the ideological motives of the director and the
artistic conception of the film. Specifically, in the first part of the presentation, I compare the final version of the film and the original tragedy by Euripides, as well as Pasolini's initial screenplay, entitled The Visions of Medea. The second part, on the other hand, will be entirely devoted to the screening of some scenes from the film and the analysis of the performative perspective. It will focus on the way the director chooses to capture his female protagonist, completely stripping her of her diva charm and endowing her with archetypal, primordial characteristics.
These aspects take shape, above all, in his interest in the transformation of the space, that is of the
Italian environment controlled by a new, “permissive” fascism, a “Power without a face” that is the
“worst kind of totalitarianism”. The poet and writer focuses on the period of the so-called economic
boom, which hit Italy after World War II. The consumer society, according to Pasolini,
apocalyptically appears as a “new fascism”, whose “purpose is the brutally totalitarian
reorganization and homologation of the world”. As mentioned, this “Power”, as well as
homologating the consciences of the Italians, according to the writer, also destroyed irreversibly the
agrarian and peasant space of pre-industrial Italy. Pasolini’s works can be critically analyzed as
“recorders” of the dangers that modernity and rapid social trasformation create in the relationship
between humanity and nature. Therefore, a large amount of his work addresses the landscape which
was contaminated by the neo-capitalist homologation, always portrayed in relation to city structure
and urban development. Petrolio, in particular, insinuates a dystopian future making use of the
major topic of dramatic actuality, that of the energy crisis and speculation on energy sources.
Ample space is dedicated to the ecological drama in the many descriptions in the novel, indicating
strong ecological thoughts in support of nature/biodiversity conservation. The objectives of this
contribution include the possibility of a new reading of Pier Paolo Pasolini’s poetry, literature, and
cinema under an ecocritical light, which presupposes an evaluation of his work that takes into
account the relationship which the author determines between the individual of his own time and
the surrounding environment, redefining the balance between literature and landscape.
As part of that perspective, a range of dramatic texts from Pasolini's theatrical production were selected as specific examples which verify the problem. First, we see the body in the grip of the masochistic desire (Orgies). Second, we have the body that paroxysmally exhibits its organs during the experience of "cannibalism" (Pigsty). Finally, we observe the body "confined in bed", between division and the visionary dimension (Calderón). In these three plays the rituals of sadistic cruelty (hanging, devouring, imprisonment) take place in order to emphasise the body and sexuality as an ontologically privileged and prelinguistic source.
In the first chapter, I tried to identify an evident Sadian matrix in the sadomasochistic motif of torture associated with eroticism. Eroticism in Sadian forms (pain/pleasure, profanation/imagination, animalization, death/voluptuousness) is examined starting from a reading of Sade's Philosophie dans le boudoir. The second chapter is focused on Julian's character as a figure of otherness in Porcile. This description focuses on the semiotics of the verbal and visual theme of the "pigsty" and "pigs" as a critical response to a consumerist culture West in general. Particular attention is given to the peculiar performative scenes of the film: Julian's death alternating with the complementary one of the savage anthropophagous, within the Artaudian perspective of the body without organs. The third chapter aims to analyze the prison semiosis of the body in the dream by comparing three plays, such as Calderón, La vida es sueño by Calderón de la Barca, and Ett drömspel (The dream) by Strindberg. A comparative analysis suggests some analogies and references in the development of the dream, in the events of oneiric representation, and in the transformation of the body in the course of the dramatic action. Although starting from different perspectives, the three plays share a structural element: the dream is constructed and oriented along the lines of the "dream-prison", as a dramatic stage mechanism.
Many studies tend to juxtapose the theme of power in Calderón of Pasolini with Foucault’s; on the contrary, my approach draws a connection with Erving Goffman, which is illustrated by the discussion of a few specific passages from Asylums in comparison to Pasolini’s Calderón. In this sense, the link between Goffman's research and Pasolini's theatrical metaphor is based on the rituals of "internment", the physiognomy of which this thesis tries to identify. Finally, the theoretical reflection of my research benefits from a series of interviews given by artists and directors- actors who have worked on stage with these plays by Pasolini.
"Asylums", we will try to highlight the institutionalizing effects on life in Calderón.
The purpose of this paper is to read and analyze the internment rituals implemented by Pasolini for the segregation of Rosaura with the aim of understanding if and how society places itself as an all-encompassing institution and if, consequently, human beings are exposed toa process of institutionalization. The choice of the comparison between Pasolini and Goffman allows us to provide a new perspective of analysis and reflection on the universe contained in
Calderón and its literary representation.
prospettiva spinoziana e la riflessione di Pasolini sul potere nella tragedia Porcile. In entrambi i suoi scritti politici, sia nel Trattato Teologico Politico, sia nel Trattato Politico, Spinoza afferma la tesi: il diritto è uguale alla potenza. Pasolini ricontestualizza e mette
concretamente in scena la teoria spinoziana. In questa direzione, vorremmo analizzare le ragioni filosofiche, artistiche e politiche che stanno alla base del personaggio di Spinoza in Porcile. Che cos’è il potere per Spinoza e quale ruolo svolge nella dinamica drammaturgica di Pasolini. Evidentemente, in questa sede risulterebbe eccessivo effettuare un tentativo di esposizione completa dei concetti di potere e potenza in Spinoza. Ciò che qui risulta di interesse è capire perché Pasolini sceglie di affiancare alla filosofia di Spinoza il momento più
importante della tragedia, quello tra potere (Klotz) e contropotere (Herdhitze). Nulla esiste al di fuori di questo potere divoratore, tutto è dentro il capitale dice Pasolini. E chi ne è prigioniero come Julian, non ha salvezza. È questa chiave di lettura che ci proponiamo di mettere alla prova, attraverso l'analisi dell'episodio di Spinoza in Porcile. Particolare
attenzione sarà data al significato politico del dialogo, alla relazione tra letteratura e società e alla riconfigurazione della temporalità storica e narrativa.
2)il tema della fine del mondo (mutazione antropologica) che Pasolini esprime sia nella tragedia Calderón, sia nelle Lettere luterane, con il loro giudizio apocalittico sul Potere. La riflessione di Pasolini sulla mutazione antropologica come una vera e propria apocalissi culturale risente
fortemente della lettura del saggio: Apocalissi culturali e apocalissi psicopatologiche di Ernesto de Martino.
Se per Beckett l’apocalisse è già avvenuta con la Shoah, per Pasolini arriverà in un panorama storico del tutto mutato. Partendo dal potere mutageno capace di addomesticare l'umano e di plasmare i sogni, i desideri, la sessualità e il corpo, si indagherà la prospettiva di un’incombente catastrofe individuale e collettiva, determinata secondo Pasolini dal capitalismo a lui contemporaneo.
la scrittura drammatica di Sarah Kane e si concentra sull'esame dell'opera 4.48 Psychosis . Inoltre si esaminerà la violenza dalla prospettiva critica del teatro in faccia-In-yer-face theatre- un genere drammatico emerso in Gran Bretagna negli anni '90.
«Η σκηνοθέτις Ariane Mnouchkine όπως παρουσιάζεται από το βιβλίο της Josette Féral (1995),Réncontres avec Ariane Mnouchkine, Dresser un monument à l éphémère και σε συνδυασμό με τη βιντεοσκοπημένη παράσταση 1789».
In questo articolo si esamina la visione teorica e performativa di Ariane Mnouchkine come viene presentata nel libro di Josette Féral (1995), Réncontres con Ariane Mnouchkine, Dresser un monumento all'éphémère e la spettacolo filmato ''1789''
contemporary theatrical experience, in order to propose a reading that can be framed according to the direction of Euripides’ Bacchae by the Master of the international scene Theodoros Terzopoulos. Using a short projection of the audiovisual material of the performance, we will try to identify the passage from the text to the theatrical performance. The video focus on the figure of Agave and her communicative models
when he recognizes the broken head of her son Pentheus, one of the most famous and touching scenes of ancient Greek tragedy. The path starts from the vision of the actress’s character on stage, from the performing of fear and its dual manifestation: the one of phonological character (voice) and the other of the prosopographic character
(face) that will allow us to highlight the aesthetic outcomes following the dramaturgical choices made by the director to underline the fear of the character as a linguistic act.
Conference Presentations by GEORGIOS KATSANTONIS
del 1968, per giungere alla crudeltà e alle sevizie che subiscono la Donna e la Ragazza di Orgia. La comunicazione si propone di illustrare la riflessione ontologica pasoliniana alla luce del ruolo ambiguo e contraddittorio dell'universo femminile. Nell'immaginario pasoliniano la raffigurazione del femminile, denuncia i processi di corruzione e lo svuotamento di valori, mettendo in discussione l’ideologia dominante della società borghese. Il discorso critico teso a individuare le specificità
dell’oppressione della donna assume una connotazione propriamente politica, non più solamente culturale. Particolare attenzione sarà data al significato politico della figura femminile, alle dinamiche sociali e alla riflessione filosofica.
wheel of a Fiat 1100. The pretext is a reportage commissioned by Success magazine,
accompanied by Paolo Di Paolo's photographs. The book partakes of a special category of the
diary, it purports to be a record of the ‘geography’ of his country, not yet devastated by what in
the mid-1970s he would have called 'cultural genocide'. Pasolini follows himself by doubling
himself, writing about himself, his journey, his "adventure", which becomes a census and
testimony of a world that is disappearing as dimly as "the fireflies" of his famous 1975 article.
In The Long Sand Road the narrative focuses, as it often does in reportage writing, on a
particular signifier, which concentrates a broader content regarding place and atmosphere.
Often the focus is on individual human figures, who become symbols of something that
includes them but does not exhaust them, or on a specific and dense aspect of those who
inhabit the places, with the use of a somewhat cinematic gaze.
Pasolini's inspired pen, put to the wringer, restores the unrepeatable image of an Italy
suspended between the enchantment of innocence and the momentum of the boom, the now
slight now cumbersome legacy of the past and a dreamy vision of the future. All this is diluted
within a backdrop overflowing with nature, which is sometimes a backdrop, sometimes a
metaphor, and sometimes a symbol of eternity opposed to the ephemeral flow of change. The
writer identifies with and delights in the culture and landscape that remain removed from the
incipient standardization of consumerism and industrial society. The cities, the settlements of
man, are contrasted with the signs of nature: sheer coastlines, high nights, raging suns,
expanses of Mediterranean scrub. Through the analysis of his narrative and private writing,
this study investigates the evolutionary modalities of an ethnographic 'diarism' that relates to a
wide textual congeries connoted by autoethnographic contemplation that punctuates
'experience', explores it, rethinks it to the point of recasting it in an inventive and interpretative
plot of personal and historical reality. Unique in Pasolini’s body of work, this hybrid genre —
journalistic, diaristic, conversational, impressionistic— gives us an extraordinarily and
unusually serene and happy Pasolini, far from excessive sociological and anthropological
reflections, who rediscovers Italy even more beautiful tthan he already thought it was, but
above all he discovers the South and is fascinated by it, for better or for worse; he discovers a
contradictory, yet coherent South with its own history, political and cultural.
A diaristic poetics is thus delineated as self-awareness and invention, insatiable curiosity, the
autobiographical quality of Pasolini's intellectual depth.
ancient Greek theatre. I will discuss the performance of Maria Callas as the primitive Medea
in Pier Paolo Pasolini's homonymous film. The paper focuses on the ideological motives of the director and the
artistic conception of the film. Specifically, in the first part of the presentation, I compare the final version of the film and the original tragedy by Euripides, as well as Pasolini's initial screenplay, entitled The Visions of Medea. The second part, on the other hand, will be entirely devoted to the screening of some scenes from the film and the analysis of the performative perspective. It will focus on the way the director chooses to capture his female protagonist, completely stripping her of her diva charm and endowing her with archetypal, primordial characteristics.
These aspects take shape, above all, in his interest in the transformation of the space, that is of the
Italian environment controlled by a new, “permissive” fascism, a “Power without a face” that is the
“worst kind of totalitarianism”. The poet and writer focuses on the period of the so-called economic
boom, which hit Italy after World War II. The consumer society, according to Pasolini,
apocalyptically appears as a “new fascism”, whose “purpose is the brutally totalitarian
reorganization and homologation of the world”. As mentioned, this “Power”, as well as
homologating the consciences of the Italians, according to the writer, also destroyed irreversibly the
agrarian and peasant space of pre-industrial Italy. Pasolini’s works can be critically analyzed as
“recorders” of the dangers that modernity and rapid social trasformation create in the relationship
between humanity and nature. Therefore, a large amount of his work addresses the landscape which
was contaminated by the neo-capitalist homologation, always portrayed in relation to city structure
and urban development. Petrolio, in particular, insinuates a dystopian future making use of the
major topic of dramatic actuality, that of the energy crisis and speculation on energy sources.
Ample space is dedicated to the ecological drama in the many descriptions in the novel, indicating
strong ecological thoughts in support of nature/biodiversity conservation. The objectives of this
contribution include the possibility of a new reading of Pier Paolo Pasolini’s poetry, literature, and
cinema under an ecocritical light, which presupposes an evaluation of his work that takes into
account the relationship which the author determines between the individual of his own time and
the surrounding environment, redefining the balance between literature and landscape.
As part of that perspective, a range of dramatic texts from Pasolini's theatrical production were selected as specific examples which verify the problem. First, we see the body in the grip of the masochistic desire (Orgies). Second, we have the body that paroxysmally exhibits its organs during the experience of "cannibalism" (Pigsty). Finally, we observe the body "confined in bed", between division and the visionary dimension (Calderón). In these three plays the rituals of sadistic cruelty (hanging, devouring, imprisonment) take place in order to emphasise the body and sexuality as an ontologically privileged and prelinguistic source.
In the first chapter, I tried to identify an evident Sadian matrix in the sadomasochistic motif of torture associated with eroticism. Eroticism in Sadian forms (pain/pleasure, profanation/imagination, animalization, death/voluptuousness) is examined starting from a reading of Sade's Philosophie dans le boudoir. The second chapter is focused on Julian's character as a figure of otherness in Porcile. This description focuses on the semiotics of the verbal and visual theme of the "pigsty" and "pigs" as a critical response to a consumerist culture West in general. Particular attention is given to the peculiar performative scenes of the film: Julian's death alternating with the complementary one of the savage anthropophagous, within the Artaudian perspective of the body without organs. The third chapter aims to analyze the prison semiosis of the body in the dream by comparing three plays, such as Calderón, La vida es sueño by Calderón de la Barca, and Ett drömspel (The dream) by Strindberg. A comparative analysis suggests some analogies and references in the development of the dream, in the events of oneiric representation, and in the transformation of the body in the course of the dramatic action. Although starting from different perspectives, the three plays share a structural element: the dream is constructed and oriented along the lines of the "dream-prison", as a dramatic stage mechanism.
Many studies tend to juxtapose the theme of power in Calderón of Pasolini with Foucault’s; on the contrary, my approach draws a connection with Erving Goffman, which is illustrated by the discussion of a few specific passages from Asylums in comparison to Pasolini’s Calderón. In this sense, the link between Goffman's research and Pasolini's theatrical metaphor is based on the rituals of "internment", the physiognomy of which this thesis tries to identify. Finally, the theoretical reflection of my research benefits from a series of interviews given by artists and directors- actors who have worked on stage with these plays by Pasolini.
"Asylums", we will try to highlight the institutionalizing effects on life in Calderón.
The purpose of this paper is to read and analyze the internment rituals implemented by Pasolini for the segregation of Rosaura with the aim of understanding if and how society places itself as an all-encompassing institution and if, consequently, human beings are exposed toa process of institutionalization. The choice of the comparison between Pasolini and Goffman allows us to provide a new perspective of analysis and reflection on the universe contained in
Calderón and its literary representation.
prospettiva spinoziana e la riflessione di Pasolini sul potere nella tragedia Porcile. In entrambi i suoi scritti politici, sia nel Trattato Teologico Politico, sia nel Trattato Politico, Spinoza afferma la tesi: il diritto è uguale alla potenza. Pasolini ricontestualizza e mette
concretamente in scena la teoria spinoziana. In questa direzione, vorremmo analizzare le ragioni filosofiche, artistiche e politiche che stanno alla base del personaggio di Spinoza in Porcile. Che cos’è il potere per Spinoza e quale ruolo svolge nella dinamica drammaturgica di Pasolini. Evidentemente, in questa sede risulterebbe eccessivo effettuare un tentativo di esposizione completa dei concetti di potere e potenza in Spinoza. Ciò che qui risulta di interesse è capire perché Pasolini sceglie di affiancare alla filosofia di Spinoza il momento più
importante della tragedia, quello tra potere (Klotz) e contropotere (Herdhitze). Nulla esiste al di fuori di questo potere divoratore, tutto è dentro il capitale dice Pasolini. E chi ne è prigioniero come Julian, non ha salvezza. È questa chiave di lettura che ci proponiamo di mettere alla prova, attraverso l'analisi dell'episodio di Spinoza in Porcile. Particolare
attenzione sarà data al significato politico del dialogo, alla relazione tra letteratura e società e alla riconfigurazione della temporalità storica e narrativa.
2)il tema della fine del mondo (mutazione antropologica) che Pasolini esprime sia nella tragedia Calderón, sia nelle Lettere luterane, con il loro giudizio apocalittico sul Potere. La riflessione di Pasolini sulla mutazione antropologica come una vera e propria apocalissi culturale risente
fortemente della lettura del saggio: Apocalissi culturali e apocalissi psicopatologiche di Ernesto de Martino.
Se per Beckett l’apocalisse è già avvenuta con la Shoah, per Pasolini arriverà in un panorama storico del tutto mutato. Partendo dal potere mutageno capace di addomesticare l'umano e di plasmare i sogni, i desideri, la sessualità e il corpo, si indagherà la prospettiva di un’incombente catastrofe individuale e collettiva, determinata secondo Pasolini dal capitalismo a lui contemporaneo.
la scrittura drammatica di Sarah Kane e si concentra sull'esame dell'opera 4.48 Psychosis . Inoltre si esaminerà la violenza dalla prospettiva critica del teatro in faccia-In-yer-face theatre- un genere drammatico emerso in Gran Bretagna negli anni '90.
«Η σκηνοθέτις Ariane Mnouchkine όπως παρουσιάζεται από το βιβλίο της Josette Féral (1995),Réncontres avec Ariane Mnouchkine, Dresser un monument à l éphémère και σε συνδυασμό με τη βιντεοσκοπημένη παράσταση 1789».
In questo articolo si esamina la visione teorica e performativa di Ariane Mnouchkine come viene presentata nel libro di Josette Féral (1995), Réncontres con Ariane Mnouchkine, Dresser un monumento all'éphémère e la spettacolo filmato ''1789''
contemporary theatrical experience, in order to propose a reading that can be framed according to the direction of Euripides’ Bacchae by the Master of the international scene Theodoros Terzopoulos. Using a short projection of the audiovisual material of the performance, we will try to identify the passage from the text to the theatrical performance. The video focus on the figure of Agave and her communicative models
when he recognizes the broken head of her son Pentheus, one of the most famous and touching scenes of ancient Greek tragedy. The path starts from the vision of the actress’s character on stage, from the performing of fear and its dual manifestation: the one of phonological character (voice) and the other of the prosopographic character
(face) that will allow us to highlight the aesthetic outcomes following the dramaturgical choices made by the director to underline the fear of the character as a linguistic act.
del 1968, per giungere alla crudeltà e alle sevizie che subiscono la Donna e la Ragazza di Orgia. La comunicazione si propone di illustrare la riflessione ontologica pasoliniana alla luce del ruolo ambiguo e contraddittorio dell'universo femminile. Nell'immaginario pasoliniano la raffigurazione del femminile, denuncia i processi di corruzione e lo svuotamento di valori, mettendo in discussione l’ideologia dominante della società borghese. Il discorso critico teso a individuare le specificità
dell’oppressione della donna assume una connotazione propriamente politica, non più solamente culturale. Particolare attenzione sarà data al significato politico della figura femminile, alle dinamiche sociali e alla riflessione filosofica.
Keywords: Pier Paolo Pasolini, Calderón, Lager, Internment, Institutions, Roman Jakobson, Aphasia.
Abstract in Italian:
Il presente articolo esamina il concetto di “Lager” che ricorre in maniera
insistente nel contenuto della tragedia Calderón, in particolar modo l’intersezione di questa parola con altre, come “istituzioni” e “società”, soffermandosi sulla semiosi carceraria del sogno per delineare la nuova riconfigurazione del mondo dopo il ’68. Una particolare attenzione è dedicata all’afasia come scelta stilistica ed espressiva. Si presenta, inoltre, come sul tema dell’afasia le riflessioni di Pasolini incontrino quelle di Jakobson.
ponendo l'attenzione su elementi che sono alla base della tragedia come volontà degli dei, responsabilità umana, necessità e libertà .
Il saggio è stato redatto nell'ambito dello stage formativo per il conseguimento del Master di II livello in Letteratura,Scrittura e Critica Teatrale presso l’Università degli Studi di Napoli "Federico II".
Η µελέτη στοχεύει να καλύψει το μεγάλο κενό που υπάρχει στην Ιταλική βιβλιογραφία σε σχέση με τη καλλιτεχνική κωδικοποήση του Εντουάρντο Ντε Φιλίππο στην Ελλάδα. Αξίζει να σηµειωθεί ότι η διπλώματική μου εργασία αποτελεί βιβλιογραφικά την πρώτη καταγραφή της παραστασιογραφίας και πρόσληψης της ελληνικής θεατρικής κριτικής για το Ναπολετάνο θεατρικό συγγραφέα, ηθοποιό και σκηνοθέτη. Δεν είναι μονο ενα ιστοριογραφικό ντοκουμέντο που συμπληρώνει µε αξιολογικές κριτικογραφικές επιλογές το µεγάλο πάζλ της Ιταλικής δραματουργίας του συγγραφέα από το οποίο έλειπαν μέχρι χθες τα ελληνικά - κοµµάτια- αλλά και αφετηρία να γνωρίσει το ιταλικό κοινό μορφές του ελληνικού θεατρικού τοπίου που άφησαν σημαντικό έργο: Κάρολος Κουν, Πέλος Κατσέλης, Μάριος Πλωρίτης, Βασίλης Διαμαντόπουλος, Σωκράτης Καραντινός, Κώστας Τσιάνος, Σπύρος Ευαγγελάτος, Γιώργος Αρμένης, Ανδρέας Βουτσινάς, Βασίλης Νικολαίδης, Βασίλης Αναστασίου, Γιάννης Διαμαντόπουλος, Στέφανος Λιναίος, Γιάννης Κακλέας κα.
Η προσέγγιση των σκηνικών ανεβασµάτων των έργων του Εντουάρντο Ντε Φιλίππο στον ελληνικό χώρο καλύπτει µια περίοδο ευρύτατη χρονικά (1948-2013) και πολυποίκιλη αισθητικά, συνδυάζοντας τη συγκρότηση της ελληνικής εντουαρντινής παραστασιογραφίας µε την απόπειρα αναλυτικής καταγραφής ορισµένων παραστάσεων, οι οποίες θεωρήθηκαν πιλότοι στην πορεία αυτή µέσα στο χρόνο: Θέατρο Τέχνης Κάρολος Κουν, Εθνικό Θεατρο της Ελλάδας, Κράτικο θέατρο Βορείου Ελλάδος.
Το ταξίδι του ιταλού δραματουργού Εντουάρντο Ντε Φιλίππο με το ελληνικό κοινό ξεκινάει θεωρητικά το 1948 με άρθρο του Αθανασιάδη Νόβα στο περιοδικό ‘’Νέα Εστία’’ με τίτλο: Η θεατρική παρακμή, Ένας μοναδικός Εντουάρντο Ντε Φιλίππο, σελ. 603-608.
Στην εισαγωγή στον παρόντα τόμο παρουσιάζεται σχολιασμένη μια πρώτη χαρτογράφηση που εστιάζει στις σκηνοθεσίες των έργων του Εντουάρντο Ντε Φιλίππο συνολικά απο το 1948 ως το 2013 διαµορφώνοντας και την ελληνική εντουαρντιανή σκηνική παράδοση, η οποία συνδέεται άµεσα με την ελληνική κοινωνία. Στο πλάισιο αυτό περιλαµβάνονται τεκµήρια, σημειώσεις των σκηνοθετών για το έργο του συγγραφέα, αποσπάσματα απο θεατρικά προγράμματα για να περάσει στις κύριες ενότητες ερευνητικού πεδίου. Ως κύριες ενότητες της µελέτης ορίζονται οι κάτωθι: Θέατρο Τέχνης Κάρολος Κουν, Εθνικό Θέατρο της Ελλάδας, Κρατικό θέατρο Βορείου Ελλάδος.
Εν συντομία. Το χρονολογικό πλαίσιο της µελέτης υπαγορεύεται από την πρώτη επαγγελµατική παράσταση Αχ αυτά τα Φαντάσματα το 1948 σε σκηνοθεσία Καρόλου Κουν στο Θέατρο Τέχνης και σε μετάφραση Αθανασιάδη Νόβα. Κάθε ενότητα αρχίζει με μια συνοπτική περιγραφή της καλλιτεχνικής δραστηριότητας των θεάτρων, την εντουαρντιανή παραστασιογραφία απο ανεβάσματα στην ελληνική σκηνή, ακολουθούν οι κριτικές των παραστάσεων, την κριτικογραφία συνοδεύει ενδεικτικό φωτογραφικό υλικό.
Αναλυτικότερα. Οι παραστάσεις που εξετάζονται στην κάθε ενότητα προσδιορίζονται µε βάση τη χρονολογική ακολουθία. Στην πρώτη ενότητα εξετάζονται οι παραστάσεις του Θεάτρου Τέχνης Κάρολος Κουν: Αχ αυτά τα φαντάσματα (1948), Οι εκατομμυριούχοι της Νάπολης (1953), Αχ αυτά τα Φαντασματα (1963), Εσωτερικές Φωνές (1986). Στη δεύτερη ενότητα προσεγγίζονται οι παραστάσεις: Ο δήμαρχος της συνοικίας Σανιτά (1970) , Αχ αυτά τα φαντάσματα (1986), Οι εκατομμυριούχοι της Νάπολης (1997) από το Εθνικό Θέατρο της Ελλάδος. Και στην τρίτη ενότητα οι σκηνοθεσίες του Κρατικού θεάτρου Βορείου Ελλάδος Σάββατο, Κυριακή και Δευτέρα (1989) και Οι εξετάσεις δεν τελειώνουν ποτε (1992).
Ειδικότερα. Κάθε θεατρική παράσταση περιλαμβάνει τα ακόλουθα στοιχεία: α) ‘Ονομα συγγραφέα και τίτλος έργου, β)Κατάλογος συντελεστών, όπως αναγράφονται στο έντυπο πρόγραμμα, γ) Διανομή, δ) Ημερομηνία και θέατρο όπου πραγματοποιήθηκε η πρεμιέρα, ε) Μνεία επαναλήψεων, περιοδείες (όπου υπάρχουν σχετικά στοιχεία), στ) Κριτικογραφία, (επελέγησαν κυρίως οι κριτικές που επιτρέπουν στον αναγνώστη –μελετητή να σχηματίσει είκονα για την σκηνοθεσία, την υποκριτική και την σκηνική προσαρμογή απο μέρους των ελληνικών θιάσων, στο ναπολετάνικο περιβάλλον του ιταλού δραματουργού), ζ) Φωτογραφία της παράστασης από την ίδια θεατρική περίοδο ανάλογα με την πληρότητα του σχετικού φακέλου στο Αρχείο των Θεάτρων.