1887
Volume 7, Issue 2
  • ISSN 1568-1475
  • E-ISSN: 1569-9773
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Abstract

The full-bodied, multi-faceted use of gesture by Italy’s beloved vaudeville and cinema comedian Antonio De Curtis, in art Totò, is rooted in the rich gesture language of Naples. Totò’s humble origins, the experience of poverty and deprivation, conditioned his art, as did his immersion as a mere child into the rough-and-tumble world of Neapolitan street theater. The teeming neighborhoods of Naples, a Baroque city, have made it into somewhat of a theatrum mundi, producing many fine actors and playwrights. The essay, illustrated by photograms from a few of Totò’s films, suggests that Neapolitan gesture, whose purpose is communication, is stylized by Totò and transformed into artistry of a high order.

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/content/journals/10.1075/gest.7.2.06poo
2007-01-01
2019-08-19
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References

http://instance.metastore.ingenta.com/content/journals/10.1075/gest.7.2.06poo
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  • Article Type: Research Article
Keyword(s): gesture language of Naples and Totò
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