Colore delle parole e temperatura dei silenzi nel teatro di Eduardo

«And that is the point» for Eduardo —to give the word back its proper colour, the same for things and gestures, to resist any «officialization» of language which only generates automatism and deceit. His, therefore, is a theatre of contradiction, which incorporates the multicoloured language of the scene so that it can be created from within, acting his artistic products of new drama and new recitation from the prerogative and from the reverse. The phenomenon emerges at the end of the 30s, from the mythical «blocco» I De Filippo; the years of workshop experimentation, of continuity-discontinuity with the family-company of origin, from which the basics were embraced to emerge oneself in the Compagnia Umoristica organization. The more restless elder brother (also inspired by Pirandello) already begins to experiment in the ambiguity of «even days», exploring the techniques of the spoken word and silence, which would become fundamental in the Teatro di Eduardo con Titana, after the traumatic fleeing of the comedy front man Peppino. From the middle of the 40s this technique, embodying the Eduardo «heretic trinity» —the drama of the actor, the dialectal world and theatre in language—, becomes the guiding element of a diverse, yet ever more present, scenic contradiction. In «odd days», where the relationship between the individual and society is not reconstructed, the pauses, the aphasia or rather the speaking without words prevail in the art of recitation and the comedy of the Grande Giuocoliero i monologhi; this because, in his theatrical romance crossed with the wedge of difficult communication, both saying and not saying is doing. Thanks to the emotive colours of the words, to the temperature —hot or cold— of the silences, the problems of world theatre are incarnate or, if you prefer, denounce themselves.