Performing Dante: A Concise History of the Performative European and Italian Reception and an Analysis of Two Centuries of Contemporary Performative Fortune.

This research examines the reception of Dante Alighieri’s Commedia and his works in the performing arts from the 14th century to the present. It addresses a significant scholarly gap by investigating how Dante’s poetry, far from remaining a strictly literary artefact, has continuously inspired theatrical, choreographic, and performative reinterpretations, particularly from the 19th century onward. The study combines historiographical and archival methodologies with fieldwork, offering an overview of adaptations in Italy and Europe. These performances reflect not only commemorative intent—such as Italy’s institutionalised “Dantedì”—but also broader cultural, political, and artistic motivations. Despite the abundance of such productions, academic studies have remained fragmented or focused on isolated events. Central to this research is the lens of reception theory and intermedial studies, emphasising how adaptations of Dante’s works emerge from interactions between text, context, and medium. Through this framework, the study illustrates how Dante’s imagery and themes persist across centuries, continually reshaped to address evolving artistic and cultural sensibilities. Historically, Dante’s works engaged both intellectual and popular audiences, influencing ecclesiastical discourse and visual culture. By the 19th century, Dante’s adaptations proliferated through dramas, operas, and poetic recitations, fuelled by Romantic nationalism. Early cataloguing efforts, notably by Carlo Del Balzo, laid the foundation for recognising these developments. The 21st century has witnessed intensified scholarly interest in Dante’s theatrical legacy, alongside the rise of interdisciplinary research on medievalism and popular culture. This study highlights three main categories of Dantean performances: Lecturae Dantis (public readings), Trilogies inspired by the Commedia, and selective adaptations of individual cantos or characters. Notably, female performers have recently gained prominence in Lecturae Dantis, challenging earlier gender imbalances. Dance adaptations further expand Dante’s reception, transforming his poetic vision into physical expression and transcending linguistic barriers. Among key case studies are the groundbreaking Trilogy by Magazzini Criminali (1989-1991) and the rare Flemish adaptation of Vita Nova by Kollektiv D&A. In the thesis it becomes clear that if the predominance of dramaturgical construction shifts from an exclusive focus on the verbal component to a more inclusive one of visual, scenographic and gestural components, Dante and his works offer a universal message and a gallery of characters and imagery with a strong impact, leaving the artist complete freedom in how to construct his or her own adaptation. Since the end of the 1990s, contemporary theatre, thanks to Dante, has been redefining ways and spaces of doing theatre, resorting to new approaches to look at the classics and to question its own present. While many productions coincide with anniversaries, this research underscores that genuine artistic engagement with Dante extends beyond celebratory contexts. Performers increasingly use Dante’s work to explore personal poetics and sociopolitical themes, echoing Marvin Carlson’s idea of the “haunted stage”, where past traditions promote new creations. In conclusion, Dante’s ongoing presence in the performing arts reflects a dynamic interplay between heritage and innovation. This study provides a foundation for future research, encouraging interdisciplinary collaboration and the development of digital archives to map the evolving legacy of Dante on stage.