Abstract
In Ogni anno punto e da capo wrote and directed, but not recited, by Eduardo in 1971, you can get much more significant implications than the tone of the show – a fun reinvention of the revue of the Thirties – could let believe at first. The show stands, in fact, as the peak of an intense season of exchanges and collaborations between Eduardo and the Piccolo Teatro of Milan, also promoted by the interest of Eduardo for modern prerogatives of the role of director. Making use of critical and documentary evidence of the period, the contribution reconstructs the show by Eduardo, focusing on his own directing perspective, characterized by metatheatricality and autobiography, towards a regeneration of national dramaturgy by the lifeblood of the Neapolitan theater tradition.