In his 2015 monograph, Strindberg l’italiano – 130 anni di storia scenica (Edizioni di Pagina, Bari), Franco Perrelli covers the reception of the author in Italy from 1884 (which marks the visit of Strindberg to Italy) to 2014, in a chronological and most comprehensive way. In his recent volume, On Ibsen and Strindberg: The Reversed Telescope, he has published nine articles in English on the reception of either Ibsen or Strindberg, or both. While eight of these essays have been previously published, one of them, “Strindberg in the Italian Nineteenth-Century Theatrical Canon” was presented at the twentieth International Strindberg Conference in Krakow in 2017 and appears in print for the first time (Ch. 6, 65–76). In it Perrelli addresses key factors relating not only to Strindberg, but to theatrical reception at the end of the nineteenth century, in general, including the fame and impact of the actors involved, and the primary importance of the translations and adaptations undertaken for the stagings. Ermete Zacconi (1857–1948), who had gained fame playing Osvald in Ibsen’s Ghosts, played the Captain in The Father, “creating the illusion that his own gaze, voice and gestures were the character’s instead” (as quoted on 67–68, from Zacconi’s obituary in Il dramma in 1948). Perrelli offers a very detailed analysis of changed words (where for instance, “mineralogy” has been translated as “meteorology”, 70), lines and instructions, which proves beyond doubt that these early translations were meticulous adaptations to fit both the stars that staged them and the sensitivities of the receiving culture. Apart from touching upon the accuracy of the early translations, a topic that has not been thoroughly studied in a systematic manner in relation to Strindberg or Ibsen,

中文翻译：

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Franco Perrelli：论易卜生和斯特林堡：倒置望远镜

Franco Perrelli 在其 2015 年的专着 Strindberg l'italiano – 130 anni di storia scenea (Edizioni di Pagina, Bari) 中，描述了从 1884 年（标志着斯特林堡访问意大利）到 2014 年期间作者在意大利的接待情况，在一个时间顺序和最全面的方式。在他最近的一本书《论易卜生和斯特林堡：倒转望远镜》中，他发表了九篇关于易卜生或斯特林堡，或两者的接受的英文文章。虽然其中 8 篇文章先前已发表，但其中一篇“意大利 19 世纪戏剧经典中的斯特林堡”于 2017 年在克拉科夫举行的第 20 届国际斯特林堡会议上发表，并首次出版（第 6 章， 65–76）。佩雷利在其中论述了不仅与斯特林堡有关，而且与 19 世纪末的戏剧接受有关的关键因素，总体而言，包括相关演员的名气和影响力，以及为舞台表演进行的翻译和改编的首要重要性。Ermete Zacconi (1857–1948) 在 Ibsen's Ghosts 中扮演 Osvald 一举成名，在 The Father 中扮演船长，“创造了他自己的目光、声音和手势是角色的错觉”（如 67-68 引用，来自扎科尼 1948 年在 Il drama 中的讣告）。Perrelli 对变化的词（例如，“mineralogy”被翻译为“meteorology”，70）、台词和说明进行了非常详细的分析，这无疑证明这些早期的翻译是精心改编，以适应上演的明星他们和接受文化的敏感性。除了触及早期翻译的准确性外，