The Zeze of Bellizzi, Montemiletto, Cesinali and Mercogliano: popular theatre and cultural heritage
3 minutes
The contrasting loves, the songs and dances, the satire of power, the participation of communities in organising the festival: these are the main ingredients that unite the four Zeze of Irpinia, in Bellizzi, Montemiletto, Cesinali and Mercogliano, and make them an identity-defining moment that brings young and old together. The undisputed protagonists are Pulcinella, his wife Zeza and their daughter.
The success of the farce goes beyond folklore: the Zeza is considered an important cultural heritage of Campania, the subject of historical, musical and anthropological studies. With its ironic and theatrical language, it addresses common and ever-relevant themes: conflicts between parents and children, the social role of women, the desire for redemption, tensions between classes and the parody of the bourgeoisie – themes made universal through the irony of the lines, exaggerated cross-dressing, and collective participation.
Bellizzi and Mercogliano: the Zeza in the Irpinia Carnival
During the Irpinia Carnival, Bellizzi revives the tradition of the Zeza, a popular comic farce that brings the town's streets to life. Centre stage is the marriage between Porzia, daughter of Pulcinella and Zeza, and the Calabrian doctor Don Zenobio, amid jealousy, wiles and witty exchanges that involve the audience. The origins of the Zeza date back to the 17th century; the performers are all men, even in female roles, and the costumes, inspired by 19th-century taste, are made by the women of the community. The performance is repeated in several parts of the town and is led by the Capozeza, who directs the performance and the final quadriglia.
In Mercogliano, the Zeza is a tragicomic farce of oral tradition, inspired by the Commedia dell'Arte and performed between 17 January and Shrove Tuesday. Having spread throughout the Campanian hinterland by the mid-19th century, it gained national fame in 1971, when Pier Paolo Pasolini used it as the soundtrack for The Decameron. The story revolves around the marriage of Vincenzella, a symbol of fertility and rebirth, and is divided into three parts: a procession, a theatrical performance and the final Quadriglia. Participation is community-based and intergenerational, entrusted to memory, voice and stage presence.
Between farce and Quadriglia: the Carnival of Cesinali and Montemiletto
In the Carnival of Cesinali, the Canzone di Zeza comes to life, a musical farce that tells of the thwarted love between Porzia, daughter of Pulcinella, and Don Zenobio, a young medical student. The story unfolds amidst jealousy, stratagems and twists: Pulcinella opposes the wedding, while Zeza plots to favour the marriage. After failed attempts and a turbulent scene, Pulcinella gives in and the story ends with the Quadriglia, an elegant dance led by the Capozeza, who gives the commands in a characteristic broken French.
The origins of the Zeza date back to the 16th and 17th centuries, when it originated in the Neapolitan area and then spread to Irpinia. The tradition, handed down orally from master to pupil, has for centuries only seen male performers; since the 1990s, women have also actively participated, contributing to the renewal of the ritual.
In Montemiletto, Carnival comes alive with the Zeza, an ancient theatrical performance with a tragicomic tone that involves the entire community, with about 200 participants of all ages. The heart of the festival is the Quadriglia, a folk dance performed by intertwining hands with flowered arches, which offers an intense and joyful spectacle.
The story revolves around Porziella, daughter of Pulcinella and Zeza, who is fought over by a sailor and the doctor Don Zenobio. Between injuries, recoveries and twists, it will be the latter who wins the young woman's hand. The performance ends with the final Quadriglia, which celebrates the conclusion of the story in dance.
