innocent aspect which could be easily paralleled to Miranda’s.
Taken as a whole, La Tempesta. Pre-testi achieved its main purpose to re-read the
play’s pervasive concern with theatricality, which was specifically investigated in
conjunction with some stock situations of the Italian improvised comedy. In particular, it
may be argued that this mise en scène functioned on two levels, which involved both
metadramatic and intercultural references. The use of two “stages” heightened the
metatheatrical framework of The Tempest itself, while concurrently