The avantgard theatre of 1900 has changed completely the theatrical style, counterposing the concepts of representation, the mise-en-scene and the centrality of the literary text. According to that, the concept of acting has changed deeply. New scenic conditions didn't consider as important the problems connected with acting a specific character and two new phenomena were born such as the change of position of acting and the improvement of it. The former considers the work of the actor as a physical action during the development of the stories, not contemplating his interpretation of a specific character. The latter is referred to the insertion of non-theatrical phenomena in the world of acting such as dance, happening and performance. The main point of these procedures is the centrality of the presence, considered as the most important thing concerning the actors.
Lorenzo Mango è Professore di Storia del teatro moderno e contemporaneo all’Università di Napoli “L’Orientale”. Ha scritto La scena della perdita. Il teatro tra avanguardia e postavanguardia, Roma, Kappa, 1987; Teatro di poesia. Saggio su Federico Tiezzi, Roma, Bulzoni, 1994; Alla scoperta di nuovi sensi. Il Tattilismo futurista, Napoli, La città del sole, 2001; La scrittura scenica. Un codice e le sue pratiche nel teatro del Novecento, Roma, Bulzoni, 2003; Il principe costante di Calderón de la Barca/Słowacki per Jerzy Grotowski, Pisa, ETS, 2008; L'officina teorica di Edward Gordon Craig, Corazzano, Titivillus, 2014. firstname.lastname@example.org