Ariosto oggi, fra critica e teatro

The essay analyzes the current state of scholarship on Ludovico Ariosto and his presence in contemporary theater, beginning with Giulio Ferroni's 2008 monograph. Modern criticism has transcended the traditional view that saw Orlando Furioso (1532) as Ariosto's sole masterpiece, now examining the interconnectedness of all his works. Ferroni identifies two central dimensions: the theatrical and the anthropological, demonstrating how Ariosto's irony is "the method of a reason aware of its threat from madness." A key issue is establishing the "modernity" of the Furioso, which Ferroni interprets as the first masterpiece of modern literature, yet one that challenges the certainties of its world. Despite some critics' concerns about Ariosto's supposed eclipse, the essay highlights positive signs: new, philologically accurate editions, the fact that Ariosto is the fourth most studied Italian author in foreign universities, and the success of popular public readings. The most innovative section concerns modern theatrical reworkings: virtuous examples such as L'isola di Alcina (2000) and Hruodlandus (1998) that respectfully update the original text, contrasted with problematic examples such as 100% Furioso (2008) that reduce the poem to banal provocations. The author concludes that, contrary to the fears of some critics, Ariosto maintains significant cultural vitality through new forms of theatrical interpretation.