Traces of Martin Crimp on the Italian Stage

My article focuses on the reception of Martin Crimp in Italy but it also takes into account influences of Italian authors on Crimp’s drama. Crimp's play radically changes its meaning according to its context.” (The Guardian, 10 March, 1999.) Billington’s suggestion had a special poignancy in relation to the death of Sarah Kane that took place just three days before the opening. The Pirandellian questions raised by Crimp’s play(s) and highlighted in Mitchell’s staging (who is in control of a play: the writer, the director, the producer, or the actors? Mitchell allowed actors – who knew all the lines by heart – to improvise each night their choices of text), gave the actors the impression of being unusually free. However, just as it happens in Pirandello, that freedom is still an illusion.