This article discusses the practices of documentation and archiving related to classical performance in the Italian Fascist regime, and their implications for the study of fascist art and culture more widely. The first part discusses a number of institutions as the sites of Italian Fascism’s archiving of classical performance. The second part, drawing on the work of Eric Ketelaar and Amalia G. Sabiescu, considers how Italian Fascism made use of the historically connoted ‘cultural tools’ of ancient Greek theatre as ‘living archives’. It discusses the aesthetic means that came to characterize all classical performances as living archives and considers the use of ancient Greek and Roman sites all over the peninsula and in colonized Libya as the archival sites of the classical performances. In the conclusion, it argues that the combination of performance and archives empowered these cultural tools to become the means for the reconstruction and transmission of Fascism’s newly crafted social memory and identity of the Italian nation.

本文讨论了意大利法西斯政权中与古典表演相关的记录和归档实践，及其对更广泛的法西斯艺术和文化研究的影响。第一部分讨论了作为意大利法西斯主义古典表演档案场所的一些机构。第二部分借鉴了埃里克·凯特拉尔（Eric Ketelaar）和阿玛利亚·G·萨比埃斯库（Amalia G. Sabiescu）的作品，探讨了意大利法西斯主义如何利用古希腊戏剧的历史意义“文化工具”作为“活档案”。它讨论了将所有古典表演描述为活档案的美学手段，并考虑使用整个半岛和利比亚殖民地的古希腊和罗马遗址作为古典表演的档案场所。最后，它认为表演和档案的结合使这些文化工具成为重建和传播法西斯主义新创造的意大利民族社会记忆和身份的手段。