Regia e citazione. Il caso di Giorgio Strehler

Abstract

This study examines the mechanisms and aims of quotation and self-quotation in Giorgio Strehler’s work. The analysis of the mise en scène of Carlo Goldoni’s Campiello reveals important iconographic references to paintings by eighteenth-century Venetian artists, while the production of Anton Cechov’s The Cherry Orchard shows allusions to Strehler’s previous work as a director (Goldoni’s La trilogia della villeggiatura). Thus, quotation and self-quotation take centre stage in the mise en scène of Goethe’s Faust, a summa of Strehler’s artistic journey.

Keywords

• theatre
• Strehler