Totò

Antonio Griffo Focas Flavio Angelo Ducas Comneno Porfirogenito Gagliardi De Curtis di Bisanzio (15 February 1898 – 15 April 1967), best known by his stage name Totò (toˈtɔ), or simply as Antonio de Curtis, and nicknamed il principe della risata ("the prince of laughter"), was an Italian actor, comedian, screenwriter, dramatist, poet, singer and lyricist. He was commonly referred to as one of the most popular Italian performers of all time. He is best known for his funny and sometimes cynical character as a comedian in theatre and then in many successful films shot from the 1940s to the 1960s, but he also worked with many iconic Italian film directors in dramatic/poetic roles. Totò was born Antonio Vincenzo Stefano Clemente on 15 February 1898 in the Rione Sanità, a poor district of Naples, the illegitimate son of Anna Clemente (1881–1947), a Sicilian woman, and the Neapolitan marquis Giuseppe de Curtis (1873–1944). His father did not legally recognize him, and Totò so regretted growing up without a father that in 1933, at age 35, he managed to have the marquis Francesco Maria Gagliardi Focas adopt him in exchange for a life annuity. As a consequence, when Marquis de Curtis recognized him in 1937 Totò had become an heir of two noble families, ultimately claiming an impressive slew of titles. Totò's mother wanted him to become a priest, but as early as 1913, at the age of 15, he was already acting as a comedian in small theatres, under the pseudonym Clerment. His early repertoire mostly consisted in imitations of Gustavo De Marco's characters. In the minor venues where he performed, Totò had the chance to meet famous artists like Eduardo and Peppino De Filippo. He served in the army during World War I and then went back to acting. He learned the art of the guitti, the Neapolitan scriptless comedians, heirs to the tradition of the Commedia dell'Arte, and began developing the trademarks of his style, including a puppet-like, disjointed gesticulation, emphasized facial expressions, and an extreme, sometimes surrealistic, sense of humor, largely based on emphasizing primitive urges such as hunger and sexual desire.