He did not have time to enjoy the homage that the Sala Assoli in Naples pays him with a series of shows drawn from his texts and performed by great actresses, most notably Isa Danieli. Playwright and actor Enzo Moscato died this evening after a long illness. He was born in 1948 and was the inventor of an enchanting and baroque theatrical language. He was born in the Quartieri Spagnoli and recently told his life story in his autobiographical book “Archeologia delblood” (Cronopio), which made it to the final of the Napoli Prize. “We children, emerging from the commons in the face of impending danger, always knew how to move through the 'QS' (Spanish Quarters) with the same cunning lightning speed as the mice, the infamous 'bitches' if They appeared.” From the “Saittelle”, that is, from the local sewers, in search of food, when they see or feel threatened by something or someone, they immediately run away to hide where they appeared hungry , who is specially prepared for them in the dirty alley, picks them out, perhaps using a special, large hammer or an iron bar, heavy, sharp, all crooked and rusty.
This is what he wrote about his childhood: His experiences have merged into an innovative dramaturgy, but one that has its roots in the deepest groove of Neapolitan culture, Creating unforgettable characters like Scannasurice. And it is precisely in the Quartieri Moscato that he performs some of his works, such as the monologue “Luparella” (1997), “Toledo suite” (2011) and the stories of “Tempo che fu di Scioscia” (2014). stage in the Sala Assoli), in which explicit reference is made to densely populated streets.
With his mild and gentle manner and his limitless culture, Enzo Moscato was one of the main protagonists of the Postwardian drama. His theater is, to a certain extent, Artaudian, cruel, because the scenic experience is understood as absolute, all-encompassing and never as pure entertainment. But his research direction was primarily in the direction of linguistic experimentalism, the contamination of high and low, of different registers. He explained it himself: “My theatrical language – in reality a polyphonic and rhythmic mixture of Neapolitan and other idioms (Italian, French, English, German, Spanish, Greek, Latin, Saracen…) – is a bit invented, artificial, ” “sub vitro” as if built in an alchemical workshop, private and very secret, is something like an exaggerated, hyperbolic, redundant replica of the multi-ethnic-polyglot chaos that revolves around us in our time.”
He also appeared in several films, starting with Death of a Neapolitan Mathematician by Mario Martone. He worked intensively with him, with Toni Servillo and with all the representatives of the Teatri Uniti, from the time of “Partitura” (1988), inspired by Leopardi's Neapolitan days, to “Rasoi”, his theater performance that was later remade into a film Martone.