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  • Authors: Colombo, Rosy;

    Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix Foreword to the 8.2 Nutrix Special Issue (2022).

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Olsen, SF; Halldorsson, TI; Willett, WC; Knudsen, VK; +3 Authors
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao University of Southe...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao University of Southe...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Laes, Christian;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institutional Reposi...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institutional Reposi...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • Authors: Bosisio, Matteo;

    The article discusses the Old Nurse in Sperone Speroni’s Canace (1542). Strong-willed and unscrupulous, she is very different from the minor figures in classical and vernacular tragedies; the innovations are mainly connected to the casual use of sources and the original way in which she expresses herself. The paper also considers Giovan Battista Giraldi Cinthio’s objections to the tragedy in 1550, as well as the replies of Speroni (1554-1558), Felice Paciotto (1581) and Faustino Summo (1590). Keywords: Sperone Speroni; Giovan Battista Giraldi Cinthio; Canace; nurse; Renaissance tragedy; Ovid Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Spurio Venarucci, Ivan;

    Among the dramatis personae of Seneca’s Phaedra, the Nurse is perhaps the most complex and multifaceted. In Euripides’ Hippolytus the Nurse does not lack a central role and three-dimensional stance, especially because of her oratory skills, but she does not differ excessively from the stereotyped character of tragedy. On the other hand, the role and function of the Nurse are expanded by Seneca. She does not simply embody the ‘voice of reason’ (however imbued with Stoic philosophy) against Phaedra’s furor: she is the moving force of the tragedy. She takes up an authorial role akin to that of Plautus’ slave; she turns into a comic lena in order to lead Hippolytus to the realms of Venus; she improvises as a priestess while delivering a prayer to Diana; she is also a skilled philosopher and declaimer. Nevertheless, she does not truly fulfill any of these roles and ends up being the humble servant of her queen. Each of her transformations is a failure; but, on closer examination, they are a failure from Phaedra’s perspective. Resigning her authorial role, de facto the Nurse becomes an instrument of the real ‘author’ of the drama, that is, Nature. Phaedra is a tragedy of Nature and the limits it imposes on human beings. Through her apparently disastrous choices, the Nurse helps Nature establish its undisputed dominion. Keywords: Nurse; Seneca; Phaedra; Nature; Roman tragedy; authorial role; metatheatre Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Guarracino, Serena;

    This contribution offers a review of Michael Billington’s Affair of the Heart, a collection of reviews by The Guardian’s lead theatre critic from 1992 to 2020. The collection allows for a reflection on the role of theatre reviews in today’s theatrical scene, while highlighting some pivotal moments in the recent history of British Theatre, from the consequences of Thatcher’s austerity policy to the impact of the Covid-19 pandemic. In its overall, the book shows how theatre reviews may help to build a more aware and informed spectatorship, and hence to keep theatre alive through ever-changing times. Keywords: Michael Billington; The Guardian; theatre review; contemporary theatre; British theatre Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Miola, Robert S.;

    Seneca conducted Shakespeare on a journey through the dark side of human life – rage, madness, tyranny, revenge, and furor. This journey passed through infernal and nightmarish landscapes, per Stygia (“through Stygian regions”), per amnes igneos (“through rivers of fire”), and per scelera (“through crimes”). It introduced protagonists who dare to defy the gods and dislocate the universe by committing evils without precedent and beyond limit (modus). This experience of the dark side furnished Shakespeare (and most of the West) with resources for drama, especially tragedies like Titus Andronicus, Macbeth, Hamlet, Richard III, and Othello. We shall explore Shakespeare’s reception of these resources through three distinct but related modalities – quotation with and without Latin markers; the reimagination of extended passages, characters, and actions; and the refiguration of a convention, the domina-nutrix dialogue. Memoria di Shakespeare. A Journal of Shakespearean Studies, Vol. 10 (2023): What's Seneca to Him? Senecan Shakespeare

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  • Authors: Elam, Keir Douglas;

    Del Sapio’s book reads Shakespeare’s Rome as a multi-layered and palimpsestic cultural and historical entity, tackling issues of national identity and geopolitical expansion in late Elizabethan and early Jacobean England. The author brings to this book a judiciously mixed methodological approach, that marries critical theory, cultural studies, historiography, rhetoric, and the history of art and archeology. The main texts discussed in this volume are all – in different ways and to varying degrees – ‘Roman’: Titus Andronicus, The Rape of Lucrece, Julius Caesar, Coriolanus, Cymbeline and Antony and Cleopatra. The Romanness in play is not merely geographic or temporal: Rome in Shakespeare’s plays and poems is not so much a setting as an existential, moral and ideological condition. Del Sapio discusses the rhetoric of Shakespeare’s Rome putting into performative action the multi-layered historical and literary compositional style of her subject in a pluri-perspectival critical discourse. The result is a critical palimpsest worthy of its topic. Keywords: myth of Rome; archaeology; anatomy; anthropology; Roman ruins Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Brown, Mark;

    This article reviews the 2022 programme of Portugal’s leading theatre showcase, Festival de Almada, which is held every summer in the city of Almada and, across the River Tagus, in the Portuguese capital, Lisbon. The review begins with German director Peter Kleinert’s Portuguese-language production of Shakespeare’s Twelfth Night; before alighting on Selvagem, an anthropological work by Portuguese theatre-maker Marco Martins; Hokuspokus by German mask-theatre company Familie Flöz; American director Robert Wilson’s I Was Sitting on My Patio This Guy Appeared I Thought I Was Hallucinating; and, finally, Hands Do Not Touch Your Precious Me by Belgian movement-theatre maker Wim Vandekeybus. In doing so, the review seeks to give a sense of the breadth and internationalism of the festival’s programme. Keywords: auteur; Peter Kleinert; Marco Martins; mask-theatre; Familie Flöz; body language; Robert Wilson; Wim Vandekeybus Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Espinosa, Diona;

    This study offers an alternative viewpoint for understanding contemporary Cuba after the 2000s from a performance studies perspective. Staging Discomfort: Performance and Queerness in Contemporary Cuba by Bretton White discusses how performing queerness in contemporary Cuban theater can also promote a counternarrative that criticizes the state’s failing rhetoric about socialism and revolution in Cuba. She concentrates on queer bodies to examine key concepts like race, sex, marginalization, citizenship, and the state. The book considers five plays by Cuban playwrights that have been judged subversive, or have been censored or met with minimal official recognition from state cultural institutions. From the title one can already appreciate the questioning of the official Cuban cultural archive and political agenda. This selection brings to light an absent and urgent topic in current Cuban performance studies. In addition, it evokes a practice of resistance through artistic expression, as theater-makers and even audiences refuse to be silenced, reprimanded, or forgotten from their right to live in an inclusive and democratic country. Keywords: performance; queerness; theatre; Cuban theater; identity; counternarrative Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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61 Research products for nutrix journal
  • Authors: Colombo, Rosy;

    Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix Foreword to the 8.2 Nutrix Special Issue (2022).

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Olsen, SF; Halldorsson, TI; Willett, WC; Knudsen, VK; +3 Authors
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao University of Southe...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao University of Southe...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Laes, Christian;
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institutional Reposi...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Institutional Reposi...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • Authors: Bosisio, Matteo;

    The article discusses the Old Nurse in Sperone Speroni’s Canace (1542). Strong-willed and unscrupulous, she is very different from the minor figures in classical and vernacular tragedies; the innovations are mainly connected to the casual use of sources and the original way in which she expresses herself. The paper also considers Giovan Battista Giraldi Cinthio’s objections to the tragedy in 1550, as well as the replies of Speroni (1554-1558), Felice Paciotto (1581) and Faustino Summo (1590). Keywords: Sperone Speroni; Giovan Battista Giraldi Cinthio; Canace; nurse; Renaissance tragedy; Ovid Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Spurio Venarucci, Ivan;

    Among the dramatis personae of Seneca’s Phaedra, the Nurse is perhaps the most complex and multifaceted. In Euripides’ Hippolytus the Nurse does not lack a central role and three-dimensional stance, especially because of her oratory skills, but she does not differ excessively from the stereotyped character of tragedy. On the other hand, the role and function of the Nurse are expanded by Seneca. She does not simply embody the ‘voice of reason’ (however imbued with Stoic philosophy) against Phaedra’s furor: she is the moving force of the tragedy. She takes up an authorial role akin to that of Plautus’ slave; she turns into a comic lena in order to lead Hippolytus to the realms of Venus; she improvises as a priestess while delivering a prayer to Diana; she is also a skilled philosopher and declaimer. Nevertheless, she does not truly fulfill any of these roles and ends up being the humble servant of her queen. Each of her transformations is a failure; but, on closer examination, they are a failure from Phaedra’s perspective. Resigning her authorial role, de facto the Nurse becomes an instrument of the real ‘author’ of the drama, that is, Nature. Phaedra is a tragedy of Nature and the limits it imposes on human beings. Through her apparently disastrous choices, the Nurse helps Nature establish its undisputed dominion. Keywords: Nurse; Seneca; Phaedra; Nature; Roman tragedy; authorial role; metatheatre Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Guarracino, Serena;

    This contribution offers a review of Michael Billington’s Affair of the Heart, a collection of reviews by The Guardian’s lead theatre critic from 1992 to 2020. The collection allows for a reflection on the role of theatre reviews in today’s theatrical scene, while highlighting some pivotal moments in the recent history of British Theatre, from the consequences of Thatcher’s austerity policy to the impact of the Covid-19 pandemic. In its overall, the book shows how theatre reviews may help to build a more aware and informed spectatorship, and hence to keep theatre alive through ever-changing times. Keywords: Michael Billington; The Guardian; theatre review; contemporary theatre; British theatre Skenè. Journal of Theatre and Drama Studies, Vol. 8 No. 2 (2022): Nutrix

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  • Authors: Miola, Robert S.;

    Seneca conducted Shakespeare on a journey through the dark side of human life – rage, madness, tyranny, revenge, and furor. This journey passed through infernal and nightmarish landscapes, per Stygia (“through Stygian regions”), per amnes igneos (“through rivers of fire”), and per scelera (“through crimes”). It introduced protagonists who dare to defy the gods and dislocate the universe by committing evils without precedent and beyond limit (modus). This experience of the dark side furnished Shakespeare (and most of the West) with resources for drama, especially tragedies like Titus Andronicus, Macbeth, Hamlet, Richard III, and Othello. We shall explore Shakespeare’s reception of these resources through three distinct but related modalities – quotation with and without Latin markers; the reimagination of extended passages, characters, and actions; and the refiguration of a convention, the domina-nutrix dialogue. Memoria di Shakespeare. A Journal of Shakespearean Studies, Vol. 10 (2023): What's Seneca to Him? Senecan Shakespeare

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