No. 3 (2022): Oresteias of the 21st Century
EDITORIAL The smell of blood: Oresteias of the third millennium, by Raffaella Viccei ESSAYS From representation to performance. The feminine freed in the Oresteia by Socìetas Raffaello Sanzio/Romeo Castellucci, by Daniela Sacco / Fragments of the word-image: at the roots of Anagoor’s Oresteia, by Silvia De Min / Robert Icke’s Oresteia (2015/2018) as Psychotherapy and Theatrical Trauma Processing. A Classic Adaptation for the Problem Situation and Aesthetics of Eternally Young People in the 21st Century under the Conditions of Western Consumerist Globalism, by Anton Bierl / The Sound and the Abyss: Tragic and sound patterns in Aeschylus’ Agamemnon and in Ruggero Cappuccio’s Resurrexit Cassandra, by Nicola Montenz / The Atrides on screen. Three cinematic Oresteias of the 21st century, by Gherardo Ugolini THEATRICAL SPACES The necessary space: Orestes in Mosul by Milo Rau, by Raffaella Viccei CRITICAL REVIEWS Post-heroic Oresteias (Simon Stone; Sivan Ben Yishai / Miru Miroslava Svolikova / Maren Kames; Antonio Latella with ERT), by Sotera Fornaro PROTAGONISTS Theatre of bumps, inebriated, calcinated, by Gianluca Guidotti, Enrica Sangiovanni (Archivio Zeta) / Notes on a rewriting of Agamemnon, by Fabrizio Sinisi / The tragic universe in Enzo Cosimi’s Oresteia (2019-2022), by Maria Paola Zedda
