This article surveys and analyzes classical performances staged between 1928 and 1938 in the archeological areas of Agrigento and Paestum, and underlines similarities and differences between them to evaluate the impact of Fascist ideology on their organization. Indeed, these performances were much more concerned with staging ancient poetry recitations, pantomimes, choreographies, and parades rather than entire plays, as these were effective conduits for Fascism’s visual aesthetics, which was aimed at enhancing the archeological settings that hosted them. The events organized in Agrigento were meant to extend the presence of classical performances in ancient theaters and monuments other than Syracuse under the supervision of the National Institute of Ancient Drama (INDA) and other national and international artists, while the performances staged in Paestum were intended to promote international tourism in Italy, which included the programmatic restoration and renovation of ancient monuments.

本文调查和分析了1928年至1938年间在阿格里真托和帕埃斯图姆考古区上演的古典表演，并强调它们之间的异同，以评估法西斯意识形态对其组织的影响。事实上，这些表演更关心的是古诗朗诵、哑剧、舞蹈和游行，而不是整个戏剧，因为这些是法西斯主义视觉美学的有效渠道，旨在增强举办这些表演的考古环境。在阿格里真托举办的活动旨在扩大古典表演在锡拉丘兹以外的古代剧院和古迹中的存在，并由国家古代戏剧研究所（INDA）和其他国内和国际艺术家监督，而在帕埃斯图姆上演的表演旨在促进意大利的国际旅游业，其中包括对古代古迹的有计划的修复和翻新。