Abstract
In the fifties and early sixties, the Italian state theatres favoured realistic production and politically committed plays over the experimental theatre of the absurd. BecKett, therefore, was first staged by avant-garde theatres for whom his experimental and anti-naturalistic plays where a constant point of reference. This essay analyses some significant productions of Beckett's plays in Italy in both the state and experimental sectors, with particular emphasis on Happy Days, and suggests future directions for the staging of Beckett in Italy.
| Lingua originale | English |
|---|---|
| Titolo della pubblicazione ospite | Samuel Beckett: Endlessness in the year 2000/Samuel Beckett: Fin sans fin en l'an 2000 |
| Pagine | 151-158 |
| Numero di pagine | 8 |
| Stato di pubblicazione | Pubblicato - 2001 |
| Pubblicato esternamente | Sì |
| Evento | Beckett and the Twentieth Century - Berlino Durata: 23 set 2000 → 23 set 2000 |
Convegno
| Convegno | Beckett and the Twentieth Century |
|---|---|
| Città | Berlino |
| Periodo | 23/9/00 → 23/9/00 |
Keywords
- Beckett S
- Italy
- Performace