Italian drama of the twentieth century is marked by the famous name of Luigi Pi-randello who opened a new path in the history of the universal theatre. The global importance of Pirandello’s theatrical experience, as a point of reference for the most important playwrights, cannot, however, overshadow the other writers of this century, with a role and a significant prevalence outside of Italy, even if they have not reached the value of Pirandello. In fact, Italian drama of this period is rich, expressive and it includes deeply original theatrical experiences. Such playwrights as Ugo Betti, Diego Fabbri, Dino Buzzati, Carlo Terron and others have mastered the Pirandello’s lesson. They have assimilated it in a creative way managing to develop a drama with its own characteristics. In this article both are considered, the authors that followed the Pirandello’s grotesque formula detaching from it in a subjective way, and the authors that created an intelligible drama closely linked to reality after the second World War, on the one hand, and authors that created a theatre closely influenced by the epic experiences of Bertold Brecht, of the absurd theatre and of course a theatre closely influenced by the Dario Fo's avant-garde experiments, on the other hand.