Abstract
“The Theatre of the Future” is a notion present in the vast majority of theatrical theories that had the ambition to contribute to the renewal process of dramatic art, at the beginning of the 20th century. Theoreticians and practitioners of the theater wanted to restore the dignity of this art, redefining the condition and function of the actor, imagining the most effective ways of training him, promoting the emancipation of the stage director, seen as an indispensable factor of cohesion between spectacular elements; they redefined the framework and function of the performance that they imagined as an instrument of education, emancipation, even enlightenment and spiritual “salvation”, wanting also to liberate the theatrical creation from the submission to the dramatic author and to the commercial servitude.
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