From the obituaries after Strindberg’s death in 1912, through the experimental productions in the 1920s (Pavlova, Bragaglia), to the great personal directions by Visconti, Squarzina, Mezzadri, Strehler, Lavia, Ronconi and Missiroli – what has Strindberg meant for Italian theatre? Strindberg has with no exceptions been understood as an avant-garde author, difficult to interpret and stage, but, in this respect, also a revolutionary artist and an innovator, an unusual dramatist who has left his mark in every staging, taking the Italian theatre to ambitious and fruitful heights.

Strindberg on the Italian Stages of the Twentieth Century

Perrelli Franco
2016

Abstract

From the obituaries after Strindberg’s death in 1912, through the experimental productions in the 1920s (Pavlova, Bragaglia), to the great personal directions by Visconti, Squarzina, Mezzadri, Strehler, Lavia, Ronconi and Missiroli – what has Strindberg meant for Italian theatre? Strindberg has with no exceptions been understood as an avant-garde author, difficult to interpret and stage, but, in this respect, also a revolutionary artist and an innovator, an unusual dramatist who has left his mark in every staging, taking the Italian theatre to ambitious and fruitful heights.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11586/287834
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