Giorgio Strehler

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Strehler, Giorgio


Born Aug. 14, 1921, in Trieste. Italian stage director.

Strehler graduated from the Academy for Lovers of the Dramatic Arts in Milan in 1940 and acted with various drama troupes. He began his career as a stage director in 1941. In 1947 he organized and headed, along with P. Grassi, the Piccolo Teatro in Milan, Italy’s first resident drama theater. From 1968 to 1972 he headed his own theater company. In 1972 Strehler returned to the Piccolo Teatro.

One of Italy’s most prominent directors, Strehler is an advocate of the realistic theater and follows the main theoretical principles of B. Brecht. His best productions include Gorky’s The Lower Depths (1947), Goldoni’s A Servant of Two Masters (1947) and Chiozzotte Skirmishes (1966), and Brecht’s The ThreepennyOpera (1956), The Good Woman of Setzuan (1958), and Schweikin the Second World War (1961). Strehler has successfully staged Chekhov’s The Cherry Orchard (1956) and Shakespeare’s Coriolanus (1957) and King Lear (1972). He has also staged operas, including Verdi’s La Traviata (1947), Prokofiev’s The Lovefor Three Oranges (1947), and Cimarosa’s The Secret Marriage (1949), all at La Scala in Milan.

References in periodicals archive ?
He recounts lessons from his own teachers, including Fritz Kortner, Leopold Lindtberg, and Giorgio Strehler.
Nos recuerda como Brecht y Piscator lo aplicaban en la reconsideracion de los clasicos y como lo han aplicado esplendidamente Peter Brook o Giorgio Strehler.
Published by Bompiani in 1949, the play received a cold reception when it premiered in 1950 at the Piccolo Teatro in Milan under the direction of Giorgio Strehler.
At Murren, the largest internment camp for soldiers, with about 1,000 inmates (it had been established by the Swiss authorities in the Bern Mountains), soldiers Nelo e Dino Risi, together with Giorgio Strehler, Diego Valeri, Ugo Barzini, and Livio Garzanti met and shared, at times, the same room.
The comic vision preserved in the Piccolo Teatro di Milano production of "Arlecchino" is that of Giorgio Strehler, who died in 1997 but left an indelible imprint on stage comedy with his original 1947 production of Carlo Goldoni's 18th-century play.
The late Giorgio Strehler originally staged this production more than 30 years ago to universal praise, but at the July 7 performance (its penultimate before being permanently retired), one was scarcely aware at times that this was a comic opera.
No faltan en ellas consideraciones personales acerca de la "moral estetica" que debe guiar los pasos de un profesional del teatro, juicios de valor sobre algunos de los montajes mas representativos de la historia del teatro contemporaneo, tales como el Orlando Furioso, realizado por Luca Ronconi, el Fausto presentado por Klaus Gruber, o el Arlequin, servidor de dos amos, emblematico montaje de Giorgio Strehler y, por encima de todo, una vision integradora del hecho teatral que trata de establecer lucidas conexiones entre diversas formas del espectaculo de todos los tiempos, desde los misterios medievales hasta los conciertos de rock o el cine.
Giorgio Strehler, Italian dramatist and director, Milan, 25 December 1997.
The project, backed by the theater's former director Giorgio Strehler, was blocked midway by bureaucratic snags and a lack of funds.
With the coming of Giorgio Strehler and his Piccolo Teatro of Milan repertory troupe to New York in April 1995, the American premiere of Pirandello's last and unfinished play, The Mountain Giants, was hailed as a major event by the media.
Ferri's voice teacher was Lidia Stix of Milan's Piccolo Teatro school; she is an associate of noted director Giorgio Strehler.
Interestingly, it was through Lawrence Olivier's film of Henry V that Italian directors rediscovered Shakespeare; the film inspired directors like Giorgio Strehler to turn to Shakespeare's plays as "a welcome vehicle for exploring contemporary themes" (128).