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early 19505, may be seen as exploratory mainly of the European classical and modern repertory, a focus reflective perhaps of the artistically uncertain bearings of post-war theatre as a whole. A seminal influence was the work of Brecht’s Berliner Ensemble and its European tour of 1956. Strehler later mounted important Italian productions of »The Threepenny Opera, The Good Person of Setzuan, The Good Soldier Schweik« and »Galileo« and Brechtian influence is felt in his work on other plays, like Shakespeare’s »Coriolanus« [1957]. Shakespeare indeed has been an on-going interest, from 1948 when he mounted »The Tempest« in the Boboli Gardens in Florence, through the 1950 s when he staged a number of the history plays like »Richard III« [1950], »Henry IV« [1951] and »Julius“ Caesar« [1953], through to the exploratory metaphysical and poetically evocative productions of »King Lear« [1972] and »The Tempest« [1978]. Strehler’s work on the Italian repertoire has included notable reorchestrations and rediscoveries, among them Ferrari’s 19th-century piece »Goldoni e le Sue Sedici Commedia Nuove [Goldoni and His Sixteen New Comedies«, [1958], turn of the century plays by Praga and Bertolazzi, an influential revival of Pirandello’s »I Giganti della Montagna [The Mountain Giants«, 1951], and a

string of plays by Goldoni: »Gli Innamorati [The Lovers«, 1950], »L’Amante Militare [The Military Lover«, 1951], »La Trilogia della Villégiatura [The Villeggiatura Trilogy«, 1954], »Le Baruffe Chiozzote [The Chioggian Squabbles«, 1964] and several re-workings of »Arlecchino, Servitore di Due Padrone [Arlecchino, Servant of Two Masters«, from 1947]. In his productions of this last play he has sought to recuperate the masked tradition of the »settecento« for modern audiences; his work oh several of the late Goldoni plays has brought out a note of melancholy to underscore the passing of a culture and its values. Strehler’s fascination with the mid-18th century is evident too in his many productions of Mozart’s operas, and the lighter comic pieces of Piccinni and Cimarosa. His current work straddles activity in Paris and Milan and points the European, indeed international, emphasis of his engagement with the theatre. □ »The Cambridge Guide to World Theatre«, Edited by Martin Banham, CUP, 1988 Arlekin, sługa dvaju gospodara Ovo je poslednja verzija najstarije, najsrećnije i »najnaputovanije« predstave PTM-a. Ovaj manje poznati tekst po prvi put se pojavio na sceni u maju 1947. godine.