Tutto è male quel che finisce bene: il finale di “Alcesti” sulla scena italiana contemporanea – Maddalena Giovannelli – Stratagemmi 32
All’s Bad That Ends Well:
The Alcestis’ ending on the Italian contemporary stage
For scholars working on the reception of Greek drama in contemporary theatre, Euripides’ Alcestis represents a key case study. Suspended between tragedy and satyr drama, as well as between a reassuring happy ending and a frenzied reflection on death, Alcestis has elicited diverse interpretations from directors. Some of the most remarkable productions of the last decade have investigated the bleakest and unsolved aspects of the play, leaving aside its fable character. Besides Massimiliano Civica’s Alcestis, the paper focuses on choices made by Massimo Castri and by dance companies Abbondanza/Bertone and Zerogrammi, with particular attention to the role of play’s ending, as well as to the function of comical devices.