Vittoria Crespi Morbio

Giorgio Strehler’s theatre questioned modern culture from the postwar period to the present. Countless studies, analyses, and reflections were devoted to him, but one aspect has never been systematically examined: the relationship between the director and his scenographers. This is a crucial critical issue however, and perusing it throughout Strehler’s career leads to discover new aspects and confute prejudices. Along this path, that is not always straight, we encounter great names of 20th‐century painting, including Guttuso and Clerici, Savinio and Casorati and Leonor Fini, until it narrows down to three outstanding figures: Gianni Ratto, Luciano Damiani, and Ezio Frigerio, the scenographers of Strehler’s most memorable performances. Research on this theme is also a long journey through an extremely rich and many‐hued visual world, bringing back to light productions that memory has grown fond of, or forgotten images that continue to astonish and thrill us.