Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.

中文翻译：

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二战期间意大利的爱尔兰剧院：翻译与政治

爱尔兰戏剧在第二次世界大战期间在意大利经历了一次非凡的重新发现，主要是因为它的政治便利（爱尔兰是一个中立国家），也因为它的审美意义。通过对关键调解人的作用的分析，我以爱尔兰文学为视角来研究意大利政治和戏剧中的一个关键时刻，强调法西斯主义和后法西斯主义实践之间的连续性。首先，我展示了对英国和美国戏剧的战时禁令如何激发了对爱尔兰戏剧的兴趣，以及爱尔兰经典的流动状态使爱尔兰血统的作者（例如尤金奥尼尔）与爱尔兰文学有联系。然后我继续考虑这种流动性如何促进了爱尔兰剧院在保罗格拉西的“Collezione Teatro”中大胆地重塑为反法西斯的形象，他在意大利戏剧领域的中心位置上迈出了关键的一步。爱尔兰是英格兰的替代品，并出现在意大利（政治和文学）地图上，主要是由于其反英语功能。然而，尽管在战时意大利对“爱尔兰戏剧”这一类别的各种、经常对比的使用具有政治影响的动机，但这是爱尔兰文学第一次在意大利的盎格鲁圈内被广泛承认为一种特定的传统。