Bagatelle about translated theatre

Abstract

In Italy, there is nothing in common, no harmony, between audience and stage, in particular, between language spoken out of the theatre and language pronounced on stage, in a way that playwrights often are compelled to invent their own language. In fact, Italian theater lacks a precise code of traditions able to shape the organic ground of recitation itself. These questions allow the author to reflect about theatrical language as in, for example, the case of a Venetian company that performs Danilo Kiš’ play, Consigli a un giovane scrittori, or the revision, among others, of the syncretic Esperanto used by Eugenio Barba.