The essay analyzes the theatrical cosmogony of Carlo Quartucci and the Compagnia della Ripresa,
built around the understanding of Samuel Beckett's dramaturgy with a primary focus on Waiting for
Godot (The three first performances, 1959 - Teatro Brancaccio, Compagnia universitaria Latino-
Metronio; 1964 - Teatro Stabile di Genova, Compagnia del Teatro Studio; 1965 - Festival di S.
Beckett, Prima Porta Roma, Compagnia della Ripresa – Teatro Mobile).
Furthermore, with the aid of unpublished interviews with Carlo Quartucci and Carla Tatò, Cosimo
Cinieri and Emiliano Tolve, this study digs deeper inside the lesser known influences on Quartuccis's
poetic such as the study of texts on figure and form by the art historian Carlo Lodovico Ragghianti and
the "conceptual" work in the studio with the photographer Lisetta Carmi and his ideal and posthumous
relationship with conceptual artist Marcel Broodthaer
