Il paradigma dell’arte sinestetica: la rinascita della messa in scena tragica al teatro greco di Siracusa

Abstract

The essay describes the main stages of the conception and organization of classical representations in the Greek theater in Syracuse, starting from 1914. Mario Tommaso Gargallo’s and Ettore Romagnoli’s work is set in the age of the open air theater, widespread in Europe since the late nineteenth century, and immediately dialogues with the major expressions of the first avant-garde. The goal of their work was to look at the Greek paradigm to create a new model for the contemporary scene, starting from a staging that can unify together word, music and dance. The National Institute of Ancient Drama (INDA) was able to activate and preserve those exceptional circumstances that, according to Édouard Schuré, had failed in Bayreuth and Orange; and it imposed an ethical and aesthetic model of formal unity, which leaved a mark on the Italian indoor scene of the early twentieth century.