In his sharp evaluation of the play, Perrelli underlines that the influence of the tarantella crosses the limits of the specific scene, provoking a spiritual evolution for the characters: the archaic ritual releases a catharsis; the essential fury of the tarantella scene channels itself into everyday rhythms, with a new consciousness and critical rationalization, and here the modern tragedy can start. Maria Pia Pagani, SinestesieonlineFranco Perrelli often refers to the judgments and reviews of the criticism around the work of the actors (not only of Duse), but rightly historicizes these opinions on the basis of the observation of the context of the Scandinavian audience. The comparison between Ibsen's and Strindberg's point of view, not only dramaturgical, is useful in the same direction, together with the highlighting of the heavy skirmishes of the second against the first, based on an acute dramaturgical jealousy; so sharp as to push him to the ridiculous sentence rightly pointed out by Perrelli: What are Nora, Mrs Alving, Rebecca West? Irresponsible criminals. This and much more can be read in the first five chapters of this volume.Siro Ferrone, Florence University PressAll in all, Perrelli's articles offer the reader insights on the impact of Italy on Ibsen and Strindberg, on reception and the importance of star actors for the fame and propagation of foreign authors, as well as on how the experimental scene after the 1960s identified in Ibsen a fellow rebel, more than a master of conventional theatre. [.] the reader gains a lot from Perrelli's essays, which are written with manifest love of the material and passion for scholarship.Ibsen Studies (2019), vol.

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