The Living Archive

Abstract

Abstract 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.