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Comenius project
Echo of Voices of Europe
Theatre
Music
Dance
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Comenius project
Theatre
Laria del continente
O miedico de pazze
The comparison
Echo of Voices of Europe
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Comenius project
O' Miedico de pazze
Three-act comedy by Edoardo Scarpetta
Plot
Characters
E. Scarpetta
Echo of Voices of Europe
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Characters
Comenius project
Felice Sciosciammocca Ciccino, his nephew
Michelino, Ciccinos friend Raffaele, actor
Don Carlo, Pensione Stellas owner Errico,
musician Luigi, writer The Captain Peppino,
waiter of the Cafè Concetta, Felice's wife
Amalia, Don Carlos sister Rosina, Amalias
daughter Margherita, Felice and Concettas
daughter Bettina Carmela Customers of the
Cafè

O Miedico de pazze
Echo of Voices of Europe
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The plot
Comenius project
O Miedico de pazze
The story, written in Naples in the first years
in 900, tells about a 30-year-old young man
called Ciccino, who loves the gambling and the
beautiful women. The money to live are given him
by his uncle, Felice Sciosciammocca, man that in
his country is well known from everybody for the
nomination of gentleman. Felice, believing that
his nephew is a good doctor, gives him monthly a
lot of money to allow him continuing his studies
and his experiments. But unfortunately, Ciccino
spends all the money with his friends in poker
and settebello. Suddenly, Ciccino receives a
letter from his uncle who announces him a visit
to check at which point are its studies. Ciccino,
despaired for the letter, helped by the trusted
friend Michelino, prepares an astute trap to his
uncle. In fact it decides to make appear to his
uncle the pension in which it lives a great
clinic and the customers of the pension the crazy
persons that he cares. The uncle, who goes visit
also the pension-clinic, beleives that normal
people like Raffaele, tragic actor,or
Enrico,famous musician, are violent crazy persons
to which the poor Felice always answers
affirmatively to not instigate their follies. And
its for this reason that Felice accepts to go
around the Europe with Enrico looking for glory,
that he fights with the guns against and old
captain of the army and that he accepts a promise
of marriage with the widow Amalia, looking for a
husband for her daughter Rosina, obviously
instigating the jealousies of his wife Concetta,
who asks the divorce after having seen the
amazing scene among Felice and Amalia. But at the
end, after a lot of misunderstandings among all
the characters of the comedy, thanks to Luigi,
journalist as well as writer of novellas, who
unmasks the trap, Felice discovers the deception
of the nephew resolving every misunderstanding.
Echo of Voices of Europe
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Edoardo Scarpetta
Comenius project
Born in Naples in 1853 and dead in the same city
in 1925, Edoardo Scarpetta was one of the
greatest representatives of the Napolitan dialect
tradition. Original text written by Scarpetta was
the famous one Miseria e nobiltà (1888), while
the rest of Scarpettas plentiful production was
constituted by adaptations of French scripts, but
also Italian not dialect (Na Santarella, 1889
O miedico de pazzi, 1908). Actors and
playwrights were also his children S.Maria
(Naples 1890 - Rome 1949) and Vincent (Naples
1876-1952). This last began since 12 years old in
Miseria e Nobiltà written by the father, in a
part thought just for him.
O Miedico de pazze
Echo of Voices of Europe
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Comenius project
L'aria del continente
Three-act comedy by Nino Martoglio
Plot
A.Musco (Main Actor)
N.Martoglio
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Angelo Musco was born in Catania in 1871.
Fourteenth child of a storekeeper, he was forced
to work in young age. Since he was 12 years old
he performed in his first experience of actor in
a Neapolitan company. In 1899 he entered the
company of Giovanni Grasso and at the end of the
show he parodied the tragedy interpreted by
Grasso and with two pirouettes and few jokes he
dried the tears succeeding in conquering the
public more than with the voice, with grimaces
and game of legs. Between 1915 and 1917 his
fortune started and became a popular actor, very
appreciated by the criticism to the point that
the greatest Sicilian writers like Pirandello,
Capuana and Martoglio, wrote for him. His
theory of the theatrical interpretation was "The
comedy is the cloth and the actor is the tailor,
who cuts, trasforms and recomposes it.. Among
his great successes we can find S.Giovannni
decollato, Laria del Continente written by
Martoglio, La Patente, Pensaci Giacomino, Il
berretto a sonagli, Liolà by Pirandello and
Cavaliere Pedagna by Capuana. More over, he
stars in eleven cinema-films. He suddenly died in
Milan on the 6th October 1937.
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Figlio di un giornalista ex garibaldino nel 1899
a soli 19 anni fondò un settimanale umoristico e
satirico scritto totalmente in dialetto
siciliano, il DArtagnan, dove pubblicò tutte
le sue poesie, riunite in seguito gran parte
nella raccolta Centona, che vennero apprezzate
per il verismo descrittivo delle bellezze
siciliane.Di lì a poco si dedicò con maggiore
attenzione al teatro nel 1901 creò la compagnia
drammatica siciliana con lintento di rendere
famoso a livello nazionale il teatro dialettico
siciliano. Dalla stagione 1907-1908 diventa
direttore della formazione capitanata da Angelo
Musco, con il quale instaura una proficua
collaborazione artistica, sia lanciando autori
nuovi (il ventunenne Rosso di San Secondo, con la
sua Madre del 1908) sia con molte commedie da lui
scritte, tra le quali le più famose sono
S.Giovanni decollato (1908) e Laria del
continente (1910). Nel 1910 fondò a Roma il
Teatro Minimo presso il Teatro Metastasio,
curando la regia di numerosi atti unici e
soprattutto portando sulla scena le prime opere
teatrali di Luigi Pirandello già famoso come
novelliere e scrittore. Insieme a Luigi
Pirandello scrisse A Vilanza (La bilancia),
eCappiddazzu paga tuttu. Nel dicembre 1918
fondò lultima sua compagine teatrale, la
compagnia del teatro mediterraneo, attiva fino al
1920. Dal 1913 e per due anni si dedicò anche al
cinema, producendo e dirigendo 4 pellicole, oggi
purtroppo andate tutte perdute, il Romanzo con
Carmine Gallone e Soava Gallone, lavventuroso
Capitan Blanco tratto dal suo dramma Il
Palio,Teresa Raquin tratto dallomonimo romanzo
di Émile Zola, ma soprattutto quella al quale
restò legata la sua notorietà, il celebre
Sperduti nel buio, dal dramma di Roberto
Bracco, la prima opera realista del
neorealismo.Tutta la sua opera è caratterizzata,
oltre che dal verismo e dalla bellezza dei
paesaggi, anche da una forte contrapposizione tra
ricchezza e povertà. La sua fama si mantenne
pressoché intatta fino alla fine degli anni 30,
con molte sue commedie trasposte anche sul grande
schermo.Scomparve tragicamente a soli 51 anni a
Catania.
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The story takes place in a Sicilian village in
the first years of 1900. The wealthy bachelor Don
Cola Duscio comes back from Rome where he has had
an operation. He comes back from the capital with
a large dose of "continental veneer" and also
with a dancer, the coquettish Milla Milord,
sporting-and-claiming an even larger dose of
"Continental Veneer". She shows off her snobbish
manners and her new culture together with her
disdain for the old-fashioned ways (especially
jealousy) of people in the village. The scandal
in the village acquires enormous proprotions.
Friends and acquaintances start visiting the
Duscio home regularly in the hope of chatting up
the beautiful "foreigner". The bad-tempered and
suspicious Marastella, Cola's sister, asks the
police to investigate on the dancer's past. In
the meantime, it turns out that Milla is causing
heaps and heaps of trouble, including trying to
start an affair with Marastella's husband. Cola
suddenly realises what a fool he was and gets
furious with rage, while his sister deals a
severe blow to the girl by calling police
officers to reveal her true identity of Sicilian
native. At this point the unlucky girl has no
other choice left but to run away.
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The comparison Characters and structure in the
two comedies
LARIA DEL CONTINENTE
O MIEDICO DE PAZZE
The structure
The structure in both comedies is similar to that
of the comedies of Plauto

• Situation at the beginning (calm)
• An external element breaks the initial state of
  calm (The sciantosa lady)
• The natural order is restored (thanks to the help
  of Colas sister)

• Situation at the beginning (calm)
• An external element breaks the initial state of
  calm (The uncles visit)
• The natural order is restored (thanks to the help
  of Luigi the writer)

The characters

• The stolto (fool) Cola
• The family (in which the main character is the
  protagonists sister, Marastella)
• The Sciantosa (the coquettish lady who breaks
  the initial calm
• The two lovers (the protagonists niece and the
  engineer)

• The stolto (fool) The uncle
• The family (The uncles wife)
• The accomplice (Ciccinos friend who prepares the
  trap)

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IL TATARATA
LA TARANTELLA
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The historical description
The origins
The dance
Instruments
Costumes
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The origins
Italian folk dance has an ancient history, dating
back to the eruption of Mount Vesuvius in 79 A.D.
Preserved under volcanic ash in the ruins of
Pompeii were friezes of dancers that inspired
movements used to create Italian folk dances.
During the Renaissance, which started in Italy in
the 14th century, dance became more elegant in
movement as well as dress was used to celebrate,
worship and heal demonstrated power and royalty
(or culture and heritage, for peasants) and was
especially helpful in capturing the eye of the
opposite sex. Today Italian folk dances are
performed at festivals, weddings and celebrations
to reflect and remind us of our past.
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The dance
The traditional dance known as the Tarantella
(small tarantula) is thought to have been an
early remedy for a tarantula bite (you dance
until you sweat the poison out of your system).
Performed not as a solo, but as a community
activity, it usually starts with dancers holding
hands in a circle and sliding their feet sideways
to rotate the circle. Variations of this dance
can be found in at least seven different regions
of southern Italy, where it is most common.
Danced to tambourines played by the dancers, the
Tarantella is a lively, improvised aerobic dance
for men and women alike. The tempo is either 3/8
or 6/8 and can quicken depending on the mood of
the musicians. Tarantella TechniqueMen and women
perform the same step for the Tarantella, which
requires that you constantly switch feet. With
both arms outstretched above you, hop twice on
one foot with your other leg reaching forward. As
you hop, tap the ground with your pointed,
extended foot.A complete circle is frequently
formed around an individual or couple dancing
this step. For variety, you can also do-si-do
(circle your partner, returning to your starting
point). Joined by hand (in the air or by your
side) or with arms around waists, dancers in the
circle do not hop, but instead grapevine in an
alternating clockwise/counter-clockwise
pattern. Do you want to
dance the Tarantella with us? Follow these simple
steps...
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Sicilian TarantellaSets of two couples. Men next
to each other facing their partners. Meter 6/8,
counted as 1, 2
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Taken from the Recreational Folk Dancing Website,
by Bob Shapiro
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TRADITIONAL COSTUMES DESCRIPTION MASCULINE
COSTUMES Short pants to the knee, in black or
brown velvet white shirt without neck long
white stockings black shoes short vest in
black or brown velvet red handkerchief to the
neck band of red wool to the life. DESCRIPTION
FEMALE COSTUMES 1) Costumes of the party Skirts
in red brocade, green, white, yellow to the
height of the calf, white stockings, long
underpantses, underskirt with end, white blouse
with elegant   bodice in black smooth velvet,
small apron, shawl of wool black embroidered and
tambourine  2) Costumes for job A very simpler
and practical costumes .
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Johann W. von Goethe (1749-1832) - a German
novelist, playwright, courtier, and natural
philosopher - describes the dance as "Three
girls, one with a tambourine (with bells on it)
and castanets are used by the other two. The two
girls with the castanets execute the steps. The
girls steps are not distinctive or even graceful,
basically they step in time and spin around in
place using the castanets, when one tires, she
trades places with the tambourine Girl" (They do
this for fun for hours, 20-40 hours at times.)"
Curt Sachs, in his book "World History of the
Dance", describes the couples' version of this
dance.2 "The dancer, kneels in adoration of his
female partner. As she dances for him, he, as
though sated, speedily forsakes her again how
with a thousand turns and tricks he now holds
aloof and now rushes upon her. His gambols and
capers are grotesque (sloppy) and yet charming,
light and tender. His bearing is yet proud and
resolute, now querulous and elaborate. Leg's and
arms, even the fingers, strumming the tambourine
(hers), and above all the "glance", ardent,
languishing, suddenly bold and shameless,
reinforce the expression of the posture. The girl
comes out of her corner, now wayward, now
willing. Her smile is eloquent, her eyes are
drunken. She swings her skirt she picks up the
corner as if to gather things in it or she
raises the arm so that the hand hangs down
loosely over her head as though from a hook,
while the other hand presses against her heart.
Now she is the axis in which the male rotates."
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MARRANZANO Characteristic metallic popular
instruments, ofstrange form and of particular
sound also called scacciapensieri
QUARTARA Container in clay of varied
colors,marks the time acting from low
MANDOLINO Usually played by artisans the
mandolin it is a solist instrument from the very
melodious sound
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The Tataratà is a dance with swords in quick
steps,repeated and rhythmical movements performed
by characters playing the role of representatives
of ancient arab courts. On the fourth Sunday in
May, the Taratata includes costumes, cavalcades,
and battles reinacting those between the Normans
and Arabs in Casteltermini in the province of
Agrigento.Representatives of the four most
important social groups in town take part in this
dance.
Take a look at the photo gallery
For more informations visit the website
www.tatarata.it
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Music in the oral sicilian tradition

• POPULAR MUSIC TODAY The most part of the popular
  cultures has changed very much in the last
  century the press and the massmedia have allowed
  the access to the city culture In such a way,
  many phenomena a time to the margins of popular
  music had a great importance. Shortly, the aim of
  popular music has quiltly changed over the last
  post-war period, and the lines that separate it
  from the other types of music are made less
  clean. In any case, like world-wide phenomenon,
  also changing itself, it does not disappear.

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THE ORIGINS
HOW THE SONG IS BORN
KIND OF SONGS
THE SONGS
THE FEELINGS OF THE POPULAR SONGS
POPULAR MUSIC
THE INSTRUMENTS
MUSIC OF THE COMMUNITY
MUSICAL STRUCTURE
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The popular sicilian instruments represent one
essential member in the execution of popular
music The most used instruments are

• CORDOFONI
• Violino
• Violoncello
• Mandolino
• Liuto
• Guitar(sound locators)

• TO PERCUSSION
• Mariolo(ngannalarruni, marranzano)
• Tammurinu tammureddu
• Circhettu
• Timpanu
• Castagnette(scattagnetti , nacchere)
• Acciarinu

• AEROFONI
• Friscalettu (flauto di canna)
• Ciaramedda (zampogna)
• Bummulu

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• Music is simple, made up of one short strofa
  (commonly of four verses) repeated many times
  over with various words. The use of the antifona
  is diffused in all Europe. The rhythm is
  sometimes linked to the versification.
  Instrumental popular music stretches ritmically
  to being repetitive. Much popular music is made
  up of a monoacoustic not accompanied melody.

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• Executed by members of the community lacking
  in a specialistic musical formation, popular
  music often is tied to the cycles of the seasons,
  key event in the personal life and practical
  activity like the religious one, the job, the
  cure of the children. Popular music can be called
  music of the lower classes. When it passes from
  an executor to the other, a popular song
  stretches to modify itself as a result of
  creative participations or to imperfections of
  the memory. Popular music generally endures the
  influence of the near cultural centers (city,
  courts, monasteries) but it is also that one
  which the ethnic community acknowledges most. In
  general terms it blooms outside institutions like
  the school and the Church.

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• It is music that has been transmitted orally,
  diffused through the execution and not with the
  notation, learned to ear. The names of its
  authors are not know, or however forgotten.

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• The love, the faith, the stoicism, the
  religion, the plant, the happiness, the satira
  civil and political, the resentful, full
  principles of bile, are the wide range of the
  feelings that the people sing in its songs. The
  Love The songs speak about the many feelings of
  the human mind first of all it is the love the
  sicialian lover sang its admiration for the
  beauty of the woman with valuable metaphors the
  woman is a rare diamond, precious stone palace,
  navigating boat vessel it from the trecce of
  gold, from the fine forehead, arches prevails
  them the eyelash, corals the lips beautiful more
  than the sun and the moon The Pain I canti
  della vicariatells the suffering of the
  condemned, with the flood of the affections that
  irrompe, with the feeling of the lost freedom
  the desperation is to the taken ones with the
  pain, the life in fight with the dead women.

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• The Sicily is considered from always
  the crib of the popular italian song, rich of
  stornelli,serenate,ninne nanne, songs and
  games of boys,satire, mottettiand sacred and
  profane legends. Between the ninne nanne they
  find canzonette for Jesus true and own Child
  christmas that represents a ring between the
  ninne nanne and the popular religious songs. As
  far as the dances they are survivors that wedding
  one, chiavu, lu diavulecchiu, puliciusa
  and, between the others, fasola, once
  represented and sang (as tarantella). Typical
  instruments are mariolu or marranzanu or
  ngannalaruni, azzarinu friscalettu,tammurin
  u(the large drum),ciaranedda and circhettu.
• The canzuna is called strambottu in
  Caltanissetta, sturnettu to the Etna, in S.Agata
  is said barcarole, duffle-coat it is said to the
  furnarisca, the countrywoman, the vicariota, the
  carrittera because sung to the way of imprisoned,
  of the peasants, the weavers, the carrettieri
  that sang many.The meter of the canzuna
  siciliana with eight lines of endecasillables
  and alternated rhymes. The ciuriare songs of
  two or three lines,popular among the jails Arie
  or Ariette, was sung with accompanyment of
  guitarsThe Storii are legendsJocura are
  childish games.Le Orationi are short sacred
  legends,sung in the evening in the streets or in
  front of the houses of devout people by blind
  singers,celebrating the saints venerated by
  peopleLe Diesilleare songs aimed at
  remembering the spirits of defuncts

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One of the ways in order to examine the function
of the popular songs is defining the function, in
the society. One of the types more famous than
popular music is the danced one, the song that,
in a succession of strofe, narrates one history
centered on an only main event. Their textes
tells about unfortunate loves, crimes, history of
war and tragedies. An other type of novellistic
song is the epic, that heroic figure tells the
enterprises of one or the conflict between
Christians and Muslims. An other example of epic
songs narrated to you, is the sicilian Pupi. A
big group is then the rituals canti
calendariali that they accompany reguarding
special events of personal life or to cycles of
the year. Another kind of popular music includes
the songs concerning tragic events, like a war or
a disease. Among the other types of popular
songs, beyond to those of love or generically of
entertainment, and the march songs, diffused
among the soldiers centuries ago, are the
childish songs, they includes the ninne nanne,
the songs to play games and the conte, beyond
to the filastrocche which have didactic aim.
Another type there is also of religious popular
songs namly hymns singing in the country
churches and belongig which a part of oral
tradition.
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• The song developed among peasant poets of
  countries and disowned villages, became the song
  of everybody the people rewarded their merit,
  handing on this melody, with learning it, passing
  it from mouth is gradually they changed. In a
  short time, the commerce, the communications, the
  pilgrimages, the wars, the great religious
  festivities, diffused the songs that were
  adopted, embellished, received, modified,
  accordin to the habits and the character of the
  people. Often it happened that some songs
  exceeded the borders of the island assuming other
  dialectal shapes. In the popular songs, the
  sicialian has documented their life every day,
  the daily life of the people they are become an
  historical and philosophical, moral and religious
  document.

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• At the beginning it was the melos therefore
  we could say of the sicialian popular song of
  oral tradition. People have created and
  recognized an own melody on which adapted the
  poetry inherited from the fathers, the language
  speech melted docilely with the rhytm of its
  music. The sicialian people, listened to the
  nomos Greek, the maqam Arabic, the bizantinian
  hymn, the courtly song of the Trovatori, the
  poliphony of sixteenth and seventeeth centuries,
  a mixture of styles from which it is difficult to
  trace the beginning of sicialian popular music.