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  • Contributors

Guido Avezzù is Professor of Greek Literature at the University of Verona. His main areas of research are Athenian oratory (critical editions of Lysias's speeches 1, 2, and 12: Antenore 1985 and Marsilio 1991, and of Alcidamas's speeches and fragments, L'Erma 1982), and Greek tragedy and its reception. His publications on this subject include the critical editions of Sophocles's Philoctetes and Oedipus at Colonus (Collezione "L. Valla," 2003 and 2008) and monographs on the relation between myth and tragedy (Il mito sulla scena. La tragedia ad Atene, Marsilio 2003) and on the staging of the story of Philoctetes (Il ferimento e il rito. La storia di Filottete sulla scena ateniese, Adriatica 1988). He also edited two selections of rewrites of Electra's and Oedipus's myths (Marsilio 2003 and 2008). His latest works include essays on Sophocles (in Citti and Iannucci, eds., Edipo classico e contemporaneo, Olms 2012, and in Markantonatos ed., Brill's Companion to Sophocles, 2012); on Aeschylus (in Jouanna and Montanari, eds., Eschyle à l'aube du théâtre occidental, Fondation Hardt 2009), on Euripides ("'It is not a small thing to defeat a king.' The Servant/Messenger's Tale in Euripides' Electra," Skenè 2, no. 2, 2016; an edition with introduction, translation and commentary of Euripides' Electra, Collezione "L. Valla," forthcoming), and on classical tragic paradigms in Shakespeare's drama, in Bigliazzi and Calvi, eds., Shakespeare, Romeo and Juliet, and Civic Life. The Boundaries of Civic Space, Routledge 2016. He is also Co-General Editor of Skenè. Journal of Theatre and Drama Studies (

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 Donne's major poems (with Alessandro Serpieri, Poesie, Rizzoli 20092), 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 (

Keith Gregor teaches English and Comparative Literature at the University of Murcia, Spain and heads a government-funded research project on the reception of Shakespeare's work in Spanish and European culture. General editor of the "Shakespeare in European Culture" series for John Benjamins, he has written widely on Shakespearean translation and performance in Spain, with articles that have appeared in Shakespeare Quarterly, Multicultural Shakespeare and Shakespeare Jahrbuch and chapters in books like Four Hundred of Years of Shakespeare in Europe (University of Delaware Press, 2003), Shakespeare's History Plays (Cambridge University Press, 2004) and Shakespeare in Cold War Europe: Conflict, Commemoration, Celebration (Palgrave Macmillan, 2016). As well as producing critical editions of some hitherto unpublished Spanish neoclassical versions of Hamlet, Macbeth and Romeo and Juliet, he has overseen the collective volume Shakespeare and Tyranny: Regimes of Reading in Europe and Beyond (Cambridge Scholars Publishing, 2014) and, with Juan Francisco Cerdá and Dirk Delabastita, Romeo and Juliet...


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