Abstract

Two constants are continually intertwined in the design and practice of scenic D'Annunzio theater as ritual and as a celebration of the theater and the materialization of poetry; the mystical idea of the total and open-air theater and the use of anti-bourgeois revolutionary and an opening scene for "endless". It turns out that if behind the abstract concepts and philosophical theater/ritual, of which it is imbued with the culture of D'Annunzio, there is great current European Entertainment mass progressively and gradually the possibility of confrontation with the first staged outside of the idea of the Italian theater and the simultaneous birth of the show en plein air, the materialization of scenic poetry D'Annunzio is an event that must be seen with a policy that respects the autonomy of theater, projectable in a supranational context of a radical transformation of the concept of staging.