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Jan 1, 1900 — Jan 1, 1984· 84 yrs

KINGDOM OF ITALY AUTHOR · DRAMA · TRANSLATIONS INTO ENGLISH

De Filippo, Eduardo

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Eduardo De Filippo OMRI (Italian: [eduˈardo de fiˈlippo]; 26 May 1900 – 31 October 1984), also known mononymously as Eduardo, was an Italian actor, director, screenwriter, and playwright, best known for his Neapolitan works Filumena Marturano and Napoli milionaria. Considered one of the most important Italian artists of the 20th century, De Filippo was the author of many theatrical dramas staged and directed by himself first and later awarded and played outside Italy. For his artistic merits and contributions to Italian culture, he was named senator for life by the President of the Italian Republic Sandro Pertini.

Naples, Kingdom of Italy
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SCENE: A spacious whitewashed room in Dreissiger's house at Peterswaldau, where the weavers must deliver their finished webs.

— from Three Plays

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Le poesie

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Poems in the dialect of Naples.

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Bare thoughts

2002

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Three Plays

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World-renowned historian Howard Zinn has turned to drama to explore the legacy of Karl Marx and Emma Goldman and to delve into the intricacies of political and social conscience perhaps more deeply than traditional history permits. Three Plays brings together all this work, including the previously unpublished Daughter of Venus, along with a new introductory essay on political theater, and prefaces to each of the plays.“The first act of ‘Emma,’ Howard Zinn’s play about Emma Goldman, is a small miracle. Here is a drama that holds down the heroics, polemics and didacticism to which works about heroes and heroines are prone. True, Emma is idealized; she is loving, honest, selfless, daring, but she is also human and believable.”—Walter Goodman, New York Times“[Marx in Soho is] an imaginative critique of our society’s hypocrisies and injustices, and an entertaining, vivid portrait of Karl Marx as a voice of humanitarian justice — which is perhaps the best way to remember him.” —Kirkus Reviews“[Daughter of Venus’s] central concerns — personal and social ethics; the balance of obligations to ourselves, our families, and our fellow citizens; the uses and abuses of political and scientific power — remain as timely as ever. . . . Zinn not only displays a fluid and passionately committed style but also is attempting to do something interesting with it: to interweave a story of familial tensions and national politics, and in doing so to remind us that the way we live our lives on the small, local, day-to-day scale of family life can have repercussions and implications for the life of the nation at large.”—Louise Kennedy, Boston Globe

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