The cultural premises, the theoretical foundations and the poetical-translational practice of Friedrich Hölderlin’s theatre have been commonly interpreted focussing on attic tragedy and its Wirkung and/or on the category of Lesedrama. So, both his reception and his production of theatrical texts are usually considered as merely literary and philosophical phenomena and as a dialogue with ancient writers and/or future interpreters. Instead, the present contribution starts from the intense renewal of interest for and re-appropriation of Hölderlin on the modern stage since Bertolt Brecht. On the basis of some pioneering studies, the attempt will be made to recover the original, intentional complexity and topicality of Hölderlin’s dynamic, anticlassicistic theatrical production.