Vol. 10 No. 1 (2024): Memory and Performance. Classical Reception in Early Modern Festivals

Published: 2024-06-19

Full Issue

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Monographic Section

• Preface

  Giovanna Di Martino, Eugenio Refini, Francesca Bortoletti

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• Introduction. Ephemeral Renaissance. Memory, Myth and Drama in Early Modern Festivals

  Francesca Bortoletti, Eugenio Refini

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• The Performativity of the Classical According to Warburg: Pathosformeln and Memory in Renaissance Festivals

  Daniela Sacco

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• The Glory of Rome Comes Back to Life. Real and Ephemeral Triumphal Arches for a Renaissance Wedding. Rimini, 1475

  Claudio Passera

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• Lucrezia Borgia’s Triumphal Chariot: Notes on Performance Documentation

  Sergio Costola

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• Nympha Loci: Gardens, Statues and Poetry in Early Renaissance Rome

  Ramondo Guarino

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• Pompa in Honorem Ferdinandi, 1558

  Jan Bažant

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• A Rediscovery of Antiquity. Traces of Ancient Mechanics in the Staging of the Opening Perfomance of the Farnese Theatre in Parma (1628)

  Benedetta Colasanti

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• Bernini’s Two Theatres and the Trauma of Classical Reception

  Edmund Thomas

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• “Como la luz de la fe te falte”: the Privileging of the Christian over the Pagan in Calderón’s El divino Orfeo (1634)

  Maria Czepiel

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• Representations of the Battle of the Giants: an Early Modern Anti-Islamic Allegory Deployed by the Hispanic Monarchy

  Borja Franco Llopis, Iván Rega Castro

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Special Section

• Malika Bastin-Hammou, Giovanna Di Martino, Cécile Dudouyt, and Lucy C. M. M. Jackson (eds), Translating Ancient Greek Drama in Early Modern Europe: Theory and Practice (15th-16th Centuries)

  Carla Suthren

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• Eduardo Pérez Rasilla (ed.), El Teatro Español de Madrid. La historia (1583-2023)

  Francesca Coppola

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• Francesco Marroni. George Bernard Shaw. Commediografo e saltimbanco

  Roberta Mullini

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• Benjamin Wihstutz, Daniele Vecchiato, and Mirjam Kreuser (eds), #CoronaTheater. Der Wandel der performativen Künste in der Pandemie

  Beatrice Berselli

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• An Appointment with Japanese Noh Theatre in Verona and Milan

  Shin’ichi Murata, Stefano Aloe

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