Anton Bierl is Professor of Greek Philology at the University of Basel, and from 2005 to 2011 was Senior Fellow of Harvard University's Center for Hellenic Studies (Washington, DC). His major research interests include Homer (he is co-director and co-ed., with Joachim Latacz, of the Neue Ameis–Hentze. Gesamtkommentar zu Homers Ilias; Engl. trans. Homer's Iliad: The Basel Commentary, De Gruyter), Greek lyric poetry (ed., with A. Lardinois, The Newest Sappho, Brill 2016), Greek Dionysism and tragedy, including its modern reception (Dionysos und die griechische Tragödie, Narr 1991; Die Orestie des Aischylos auf der modernen Buhne. Theoretische Konzeptionen und ihre szenische Realisierung, Metzler 1999; co-ed., Theater des Fragments. Performative Strategien im Theater zwischen Antike und Postmoderne, transcript 2009), Attic Comedy (Der Chor in der Alten Komödie. Ritual und Performativität, Saur 2001; Engl. trans. Ritual and Performativity, Center for Hellenic Studies-Harvard University Press 2009), the ancient novel (co-ed., Intende Lector: Echoes of Myth, Religion and Ritual in the Ancient Novel, De Gruyter 2013), Greek myth and religion (co-ed., Literatur und Religion. Wege zu einer mythisch-rituellen Poetik bei den Griechen I-II, De Gruyter 2007; coed., Gewalt und Opfer: Im Dialog mit Walter Burkert, De Gruyter 2010; co-ed., Ästhetik des Opfers. Zeichen/Handlungen in Ritual und Spiel, Fink 2012), and the history of classical philology (co-ed., The Prussian and the Poet. The Letters of Ulrich von Wilamowitz Moellendorff to Gilbert Murray [1894-1930], Weidmann 1991). He is editor of the series MythosEikonPoiesis.
Silvia Bigliazzi is Professor of English Literature at Verona University. She has extensively worked on literature and the visual arts, publishing a volume on modernism (Il colore del silenzio. Il Novecento tra parola e immagine, Marsilio 1998), and editing with Sharon Wood a collection of essays (Collaboration in the Arts from the Middle Ages to the Present, Ashgate 2006). Her more recent fields of interests are textual performance (Sull'esecuzione testuale, ETS 2002), Shakespeare (Oltre il genere. Amleto tra scena e racconto, Edizioni dell'Orso 2001; Nel prisma del nulla. L'esperienza del non-essere nella drammaturgia shakespeariana, Liguori 2005), and John Donne's poetry. She has edited and translated into Italian John [End Page 604] Donne's major poems (with Alessandro Serpieri, Poesie, Rizzoli 2009), and Romeo and Juliet (Einaudi 2012). Her recent publications include the Italian translation of the Arden edition of Double Falsehood (Rizzoli 2012), the edition of a collection of essays on Renaissance literature and mental insanity (Distraction Individualized. Figures of Insanity in Early Modern England, Cierre 2012), the co-edition of three miscellanies: on translation for the theatre (Theatre Translation in Performance, Routledge 2013), on The Tempest (Revisting the Tempest. The Capacity to Signify, Palgrave 2014), on Romeo and Juliet (Shakespeare, Romeo and Juliet, and Civic Life, Routledge 2016). She has also edited a Special issue of English Literature on Early Modern Scepticism and the Culture of Paradox (1:1 2014), and more recently a Special issue devoted to Diegesis and Mimesis (Skenè 2:2 2016). She has translated for the Italian stage Macbeth and Q1 Romeo and Juliet. She is Co-General Editor of Skenè. Journal of Theatre and Drama Studies (http://www.skenejournal.it/).
Francesco Dall'Olio is a PhD student in Philology, Literature and Linguistics at the University of Verona and has recently been visiting scholar at New York University. He has extensively worked on Sophocles and Euripides (Women of Trachis and Hippolytus), on a comparative research project on Euripides's Medea and Shakespeare's Hamlet, and on Euripides's Orestes and Sophocles's Philoctetes (Maia 66/b 2014). His research interests include Greek tragedy, its relation with other Greek artistic genres (especially epic and historiography) and its heritage in early modern and in modern culture (in particular Elizabethan theatre and contemporary cinema).
Marco Duranti holds a PhD in Greek Literature (University of Verona and Albert-Ludwigs-Universität Freiburg i. Br.). He has extensively worked on Euripides's Iphigenia in Tauris and Goethe's Iphigenie auf Tauris as well as on the reception of Euripidean drama in early modern Europe. His publications include essays on Euripides's prologues (Skenè 3:2 2017) on object personification in...