Giorgio Strehler

Giorgio Strehler (Italian pronunciation: [ˈdʒordʒo ˈstrɛːler]; German: [ˈʃtʁeːlɐ]; 14 August 1921 – 25 December 1997) was an Italian stage director, theatre practitioner, actor, and politician. Strehler was one of the most significant figures in Italian theatre during his lifetime, described by Mel Gussow as "the grand master of Italian theater" and "one of the world's boldest and most innovative directors". He co-founded Italy's first and most significant repertory company, the Piccolo Teatro of Milan, and the Union of the Theatres of Europe. The Teatro Strehler theatre in Milan is named after him.

With the Italian Socialist Party, Strehler served as Member of the European Parliament between 1983 and 1984, representing North-West Italy. He switched parties to the Independent Left, for which he was a Senator from 1987 to 1992, representing Lombardy.

Strehler was born in Barcola, Trieste. His father, Bruno Strehler, was a native of Trieste with family roots in Vienna and died when Giorgio was only three. His maternal grandfather, Olimpio Lovrich, subsequently became his father figure. Olimpio was one of the finest horn players of his day and the impresario of the Teatro Comunale Giuseppe Verdi, Trieste's Opera House. When he was seven, his grandfather died and he moved to Milan with his mother and grandmother.

As a child, Strehler was not impressed by theater. He found it "false" and decided it did not have the power to stir one's emotions as film did. His opinions changed one hot summer night while on his way to the cinema. He noticed a sign advertising the air-conditioning posted by the Odeon Theater. He walked in for some relief from the weather to see a performance of Carlo Goldoni's Una delle ultime sere di Carnevale being given by a company from Venice. He went every evening for the next few days to see more plays by Goldoni. Newly inspired by the theater, he applied and was accepted to the theater school Accademia dei Filodrammatici.

During the war, Strehler went into exile in Switzerland. With Geneva's Compagnie des Masques, he directed the world premiere of Albert Camus's Caligula. After the war, he became a theater critic for Milano Sera but he preferred making theater rather than writing about it. It was at this time that he started the Piccolo Teatro di Milano with Paolo Grassi. It opened on 17 May 1947 in the auditorium of the Broletto Cinema with Maxim Gorky's The Lower Depths. A few days later, they staged Carlo Goldoni's long forgotten Arlecchino: Servant of Two Masters commedia dell'arte, which would go on to become the longest running play in Italian theater. In that same year, he also directed Giuseppe Verdi's La traviata at La Scala, the first of many opera productions he would direct.

Strehler focused on theater that was culturally relevant. He did not want to "pay an abstract homage to culture" or "to offer a mere distraction... passive contemplation". Instead, both Strehler and Grassi agreed that theater was "a place where people gather to hear statements that they can accept or reject".

In the 1950s, Strehler directed several plays by Bertolt Brecht with whom he would become close friends, sharing political beliefs. In 1956 Brecht attended a production of his The Threepenny Opera. Back in Berlin, he wrote "thank you for the excellent performance of my Threepenny Opera which you have realized with a great director. Fire and freshness, ease and precision distinguish this performance from many others I have seen... it would be a joy and an honor for me if your theater could perform... at the Berliner Ensemble's Theater... which witnessed the first performance of this work."

His love for William Shakespeare (Coriolanus, The Tempest, King Lear, Twelfth Night, Macbeth), Luigi Pirandello (Enrico IV), and Anton Chekhov (The Cherry Orchard, Platonov) was unmistakable; he always returned to Goldoni repeating the same plays decades later. He created the role of theater director (regista was actually coined in 1929) in Italy all by himself. Until he came plays were for the most part still put on by traveling companies that were a microcosm unto themselves. They directed themselves. They had never heard of a director. He also gave prominence to Italian authors, though few in number. Strehler used to say that "Italian theater has produced few important dramatic authors – Niccolò Machiavelli, Carlo Goldoni, Luigi Pirandello – but an enormous number of actors. Between 1500 and 1700, every self-respecting court in Europe had to have a company of Italian actors."