The real mask of the theatre: farewell to giorgio albertazzi

The Italian theatre, after Plauto and Terenzio, was also born with Luigi Pirandello. The presence of Pirandello is artistically culturally one of the most important in the whole picture not only of Italian literature, but also of Italian theatre, but above all represented a case of divagation or transfer of the work in life. The name Pirandello, now not only the writer of the Italian twentieth century famous all over the world, but also a subject of collective recognition, of course intellectual.

The creativity of Pirandello is unlimited, it has manifested itself out of every gender boundary: with poems, literary essays, novels, novels, dramas and even film scenarios. But not only this, with Pirandello we truly enter the true essence of the 19th century theatre and its artisticity. With Pirandello, the ideology of mask and humor arises. According to Pirandello we actors must recite the part that society demands from him and that we ourselves characters assert ourselves through our moral ideologies.

Every man (he is not a person, but a character as he is forced to play a part in the social comedy), in short, he needs a mask and plays the role that society or traditions or its moral ideals dictate to him. So the character is not unitary and coherent, because he is no longer a person. On the contrary, he chooses two paths; 1) he can choose hypocrisy, passive adaptation to forms; or 2) he can choose to live in a self-ironic way the separation between form and life. In the first case, the use of the mask is expressed; in the second case, however, the use of the naked mask is manifested, whose purpose is to solve individual differences.

This reflexive, bitter, pitiful and ironic detachment is the symbol of humor that stands out from comedy. The comedian was born from the “warning of the contrary”, from the advert, with an irresistible susult that provokes rice, instead humor is the “feel of the contrary” that arises from meditation.

In the panorama of the Novecentesco theatre, among all the Italian artists who approach the Pisan poetics were Eduardo De Filippo and Giorgio Albertazzi. Eduardo de Filippo, Neapolitan, Trinitarian artist approaches in the part of the comedian, that is, the warning of the contrary "that has flowed the rice and also the theater of Eduardo, I will never end to say, it is the real theater in the theatre because it succeeds, through jokes of spirit, to face social and topical issues so that the world will be more just.

Instead Giorgio Albertazzi (who died today at only 92 years old), Florentine, artist and also literary, approaches the theme of humor, that is to the “feel of the contrary” that arises from reflection. Therefore the Albertazziano theatre is a theatre based on reflection and dramaturgical literature. Giorgio Albertazzi, in all these 92 years, has always been one of those artists who succeeded, through the media, to express the true life of the theatre.

In the program of Rai 1 ” Dancing with the Stars”, Albertazzi, last year, argued that the dance is the lover of the theatre, therefore brought on stage of “Ballando con le stelle”, the theatre-danza, telling the works of the avi writers of the world dramaturgy. This is who Giorgio Albertazzi, another mask that, with Eduardo De Filippo, managed to explore the true meaning of the theatre and therefore each one of us, as Albertazzi says, “we open the world and open our dreams”.

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