In 1966, the Italian critics labeled Luca Ronconi a “producer of madness,” not only for the themes he chose but for the frenzied characterization typical of the acting. Later, after Orlando Furioso (1969), [see T47], they saw him as a conjurer of extraordinary medieval festivals, through a play of simultaneous scenes that bordered on the “extraordinary and magical.” But since the critical acclaim of Orlando eight years ago, Ronconi has never again wanted to take on a performance/production that could be performed all over the world, precisely in order to free himself from the label that each success brings. Even when he recreated Ariosto's poem for television, he drew on—as the medium itself demanded—an entirely new formula. It is time, then, to put aside easy definitions and to look without preconceptions at Ronconi and what he has done since Orlando Furioso.