| Summary: | According to Silvio D’Amico and the Fascist regime, staging La Figlia di Iorio
at the 1934 Volta Conference would show the world a perfect example of
the rising Italian direction, especially considering that high-level
international figures joined to rewrite this masterpiece in
Mediterranean rustic literature, thirty years after Michetti’s and
Talli’s realistic and pictorial legendary première. However,
putting together avant-garde and tradition was a gamble that did not
work out. Pirandello, De Chirico, Ruggeri and Marta Abba (who had been
recommended) reluctantly participated in the endeavour and did not
manage to meet expectations. This was the umpteenth missed opportunity
in the history of Italian theatre, and d’Annunzio polemically distanced
himself from it .
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