The paper examines some mise-en-scène of important directors (Macbeth by Ariane Mnouchkine, the ibsenian production of Ostermeier, The Pillars of Society by Gabriele Lavia and the diptych of Ronconi, Pornography and Celestina). The critic emphasizes the taste for topicality that pushes Ostermeier to stage Ibsen in modern dress, in order to highlight the contents of great topical interest, although this choice prevents the director of grasping the profound message of the Ibsenian writing. Lavia operates differently, respecting costumes and scenography of the nineteenth-century, but only to bring out even more that Ibsen come back into the news. For Lavia the protagonist of The Pillars of Society is a kind of Berlusconi. Alonge confesses to have no interest in this obsession of actua izing the ancient text, which is even more stringent in Mnouchkine’s Macbeth, which suggests Gheddafi’s tragedy. The scholar is more fascinated by Ronconi’s production, which marks a break from the interests of the director. Instead of Ronconi’s usual “ethical moderation”, here we have a focus on the erotic dimension, even if, at the end, flesh and body turn out to be just prison, mud, misery, according to gnosticism’s thought.