Abstract: (For the Definition of a Contemporary European and Italian Theatre-Literary Canon [with a Focus on the Italian Case of Luigi Pirandello and Eduardo De Filippo]) Harold Bloom has promoted an idea of the Western Canon in literature and culture, which has an implicitly political value, aimed at demonstrating Anglophone supremacy, first British and then American. Bloom’s Canon has a main prejudice at its base, considering as an absolute assumption the centrality of William Shakespeare as the only fundamental pillar of literature and culture in Western world. Despite the centrality of Shakespeare, the debate on a theatrical-literary canon is underestimated compared to the general debate on Canon. This is due to the implicit difficulty of theatre, at the same time literature and performing art, with the coexistence of literary-linguistic elements and others who look at the mise-en-scene. My contribution therefore focuses, from a theoretical point of view, on the elements to look at in defining a theatrical canon (literature and staging), dwelling on the Italian case. First of all, analysing the Italian case, I will consider Luigi Pirandello as the centre of an Italian Theatre Canon in the first half of the 20th century, despite authors, as Roberto Bracco, who at that time seemed to have more national and international resonance; then Eduardo De Filippo, noting that, in the second half of the last century, the core of the Italian Theatre Canon corresponded to the Regional Canon in the figure of Eduardo.