Autopsia di un amore
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The story of Alcestis and Admetus – an ancient myth of love and death whose roots lie in folklore, already revisited by Euripides – still retains its fascination today, both in writing and on the stage. Indeed, the advent of the new millennium seems to have prompted fertile revitalisations, perhaps partly on account of millenalistic influences. The four versions examined, all composed after the year 2000, are at first sight strikingly different from one another; yet they share some substantial priorities: in particular, the extreme creative freedom of dramatists and stage directors does not preclude an intimate faithfulness to the text and its underlying themes, from sacrifice spurred by love to the resurrection – real or presumed – of the lover. The latter node still remains unresolved, in the problematic finales that are often preferred to the classical happy end, and yet, when passing from one staging to another, Alcestis nevertheless continues to die and return to life on the stage: different each time and not necessarily veiled, but even so kept in life by that mystery that has been part of her since time immemorial.
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