The origin of the traditional Neapolitan mask is far and uncertain as well as the meaning of its name.

There are those who want to descend from ' Pulcinello ' i.e. little chick because of his hooked nose, who instead leans for ' Puccio d ' a villain of ' 600 maple that after having mocked a company of comedians wandering joined them as a buffoon.

The open mask has its French variant in ' Polichinelle ', a Gradasso fanfare with double hump and a showy dress and an Englishman with a melancholic and brutal ' Punch ' mood.

There is a central and enlightening moment in the history of the relations between Polichinelle and Naples, between Polichinelle and the theatre and, in particular, between Polichinelle and the actor: it coincides with the end of ' 600 and the beginning of ' 700, when the history of the show in Naples is made Suggestive measure of the history of the city itself and of its cultural life. There flourishes a theatre of dialect prose, expression of an extraordinary attention to the language and the costume. There is a rich and fertile generation of actors: theorists, playwrights and playwrights, librettists, musicians, actors and singers, entrepreneurs. In addition, the city structures of entertainment are renewed: The San Carlo opens and, at the extreme opposite of the social consumption of the theatre, the No less noble San Pug and it affirms the comedy in music, called Comic Opera, capable of expanding and affirming itself for the whole Europe with characters that have made even think about a ' Neapolitan music school '.

The theatre reborn, after exhilarating experiences of the commedia dell'arte practiced triumphantly in Europe throughout the ' 600 and in this first half of ' 700. The mask represented and still represents there Neapolitan plebeian ' always oppressed by the various powerful who have succeeded, hungry and vulgar, smargiassa, cowardly and desecrating. Many actors have played on the scene the character of Polichinelle but the most famous of all was Antonio Petito triumphant on the stage of San Pug that, despite being almost illiterate, wrote some very successful comedies that they had as Starring the same Polichinelle.

Source: http://digilander.libero.it/leggendeitaliane/leggende/campania/Pulcinella.htm

Vietri Ceramics

Vietri's fame is inextricably linked to the ceramic handicraft that has always been one of the fundamental elements of the economy. The oldest written documentation dates back to the SEC. XV, when they were produced langelle of bare earthenware.

In those years Vietri was one of the many centers of a wider productive reality, which interested Nocera, Cava, Salerno. Among other things devoid of the raw material, the clay, of which, however, were particularly rich Nocera and Salerno. But with the SECC. XVI-XVII is witness to an evolution of the productive structure Vietri in key Protoindustriale.

The happy position of Vietri Sul mare within the Tyrrhenian trade, the direct relationship of the factories with the beach, the gravitational center of the local economy, the natural water supply that fueled the driving force of the factories, the back Hills rich in timber, the formation of a local entrepreneurial class very active, particularly linked to the trade with Sicily, Sardinia, Tuscany, Liguria, are all elements that favoured the development of the local faenzere.

The high three-storey furnaces, entrusted to the protection of Saint Thunder, were churning out thousands of dishes, jars and mugs. The traditional decorative motifs refer to an Arcadian reality, outside of time and space, schematized in the sign of the decorative detail. Shepherds and peasants, rustic landscapes, country churches, farmhouses, animals that inhabit distant forests, unrelated to the real Vietri landscape, made of sun and Mediterranean vegetation, which stands out on the blue Sea of the sky that merges with the ocean. These are the colours taken from the Vietri palette, a conductor of a tradition that is renewed, in decorum and in form, but which never betrays the quality of the material, linked to the body of the enamel and the speed of the wide fields of colour, to which Drafting adapt the fast gesture of the sponge or brush and the agile game of the wrist.

Source: http://www.vacanzeitinerari.it/schede/ceramica_vietrese_sc_305.htm

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