Dan Jemmet’s “La Grande Magie” at the Comédie-Française: magic tricks, artifices and lies

Abstract

In this essay, Margherita Pastore analyzes the direction of Eduardo de Filippo’s La grande magia realized in 2009 at the Comédie-Française by the british theatre director Dan Jemmet. This direction revisites the neapolitan playwright’s theatrical universe and, by the use of metatheatre, proposes at the same time an interpretation of the play consistent with Eduardo’s desire to establish a link between stage and audience in addition to a show impregnated with the history itself of theatre.