This book adopts a comparative approach to examine some curious and original aspects of the dramaturgy and the scenic conception of two great Nordic writers, Henrik Ibsen and August Strindberg. As far as Ibsen is concerned, the book looks at the connection between his works and the European Risorgimenti, the anthropological relationship with the rites and atmospheres of Southern Italy, and the problematic link with theatrical tradition. With regards to Strindberg, light is shed on his intense identification with Euripides, but also with his "enemy" Ibsen, and his interest in modern theatrical reformers. There is an almost "archaeological" attention to the first "great actors" – Betty Hennings, Eleonora Duse, Ermete Zacconi – who interpreted Ibsen and Strindberg’s dramas, and to some of the more modern of Ibsen’s stage sets put forward by those who sought to go beyond his bourgeois formula. Ibsen and Strindberg are read and interpreted from a cultural point of view which is far removed from their historical and geographical setting, and are often observed through a reversed telescope which sheds light paradoxically on revealing aspects of their work.