ABSTRACT
The physical presence of the author could not but emphasize the problem of the original intentions and essence of the work. The structure of the theatre seminar-workshop itself, which was the backdrop to the Wesker event, helped create a strategy of 'cooperative translation'. In line with this, the inter-semiotic and inter-linguistic journey of Whatever Happened to Betty Lemon? Began with analytical and descriptive considerations based on the structural features of the script. Margins of commutation onto an Italian stage were then defined. Speaking of 'dominant elements' of the text, Angela Locatelli was correct in identifying 'recursiveness' as the dominant principle on which Whatever Happened to Betty Lemon? Is built, thus 'dialogues, memories, movement and action are structured recursively' and move within the text ordered by an 'evident strategy of parallelism'. It is clear how recursiveness, as an aesthetic function in the text, serves to order the chaos of an erratic and aleatory monologue.
