This appendix, which includes entries on the composition, publication and reception in the theatre of the texts analysed, has been prepared in collaboration with Maria-Rita Gaito. The chronology includes a selection of productions limited to the twentieth century, with some exceptions justified by references in the analysis. The sources used are largely from newspaper clippings, press releases, posters and other archival materials. We have preferred to leave them in their original form, however variable, unorganized and often incomplete, deeming them useful to the reader.

The appendix seeks to convey an idea of the resonance of the reflection on the tragic in individual texts examined, and their concrete life on stage, before a wide range of different audiences. Obviously it offers merely quantitative data related to a history of interpretation and reception that goes beyond the limits of this book. It may suggest further points of interest and approaches to study.

Gengangere

(It. Spettri, Fr. Les revenants, Eng. Ghosts, Ger. Gespenster)

Composed in Rome and Sorrento during the summer of 1881. The first notes probably date back to the winter of that year. The first version, lost, was made in June and the second in October. The work was published in December 1881. Among the principal Italian translations of recent decades I can recommend those by Piero Monaci (Milan: Rizzoli, 1954); Anita Rho (Turin: Einaudi, 1959; 1976; 1981); Alfhild Motzfeldt Tidemand-Johannessen, authorized by the Ibsen estate (Milan: Mursia 1962–85); Roberto Alonge (Milan: Mondadori, 1988); Claudio Magris (Milan: Garzanti 1995, 2006); and Roberto Alonge and Franco Perrelli (Milan: Rizzoli, 2008), from which I quote. This last has been republished with variations that I have indicated in the notes, in Henrik Ibsen, Drammi moderni, edited by R. Alonge (Milan: Radici BUR, 2009).