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<span lang="EN-GB" style="font-size:11.0pt;font-family:"Tahoma",sans-serif;color:black;border:none windowtext 1.0pt;padding:0cm">Dear Friends and Colleagues,</span><span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E"><o:p></o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;line-height:12.65pt">
<span lang="EN-GB" style="font-size:11.0pt;font-family:"Tahoma",sans-serif;color:black;border:none windowtext 1.0pt;padding:0cm">We are pleased to announce the publication of the first Issue of 'Visioni del tragico.La tragedia greca sulla scena del XXI secolo'
(1,2020)</span><span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E"><o:p></o:p></span></p>
<p style="margin:0cm;margin-bottom:.0001pt;text-align:justify;line-height:12.65pt">
<span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E"><o:p> </o:p></span></p>
<p class="MsoNormal" align="center" style="text-align:center;background:#F7F7F7;vertical-align:baseline">
<span lang="EN-GB" style="color:#333333">The Greek tragedy, our contemporary<o:p></o:p></span></p>
<p style="margin-top:0cm;background:#F7F7F7;margin-bottom:1rem;box-sizing:border-box">
<b><span lang="EN-GB" style="font-family:"Arial",sans-serif;color:#333333">ESSAYS</span></b><span lang="EN-GB" style="font-family:"Arial",sans-serif;color:#333333"> The Greek tragedy, our contemporary,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Sotera
Fornaro /<span style="border:none windowtext 1.0pt;padding:0cm"> </span></span></em>Tragedy for (or against) the stage. Some observations on theatrical translation, direction and ‘proto-direction’,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Federico
Condello </span></em>/ Euripides’<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">Helen</span></em>, the closed ports and the pilot light,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Walter
Lapini</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/<em><span style="font-family:"Arial",sans-serif;border:none windowtext 1.0pt;padding:0cm"> </span></em><em><span style="font-family:"Arial",sans-serif">‘</span></em>A Wonderful
Parable’: Peter Stein Translator and Director of<em><span style="font-family:"Arial",sans-serif;border:none windowtext 1.0pt;padding:0cm"> </span></em><em><span style="font-family:"Arial",sans-serif">Oedipus at Colonus,</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Gherardo
Ugolini</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/ The Sun and Sacrifice: The Tragic in Albert Camus and Its Reflections in the 21st Century,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Valeria
Turra</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/ The body's voice on the stage. The 'creative' actor and the non-verbal language of emotions in the drama <em><span style="font-family:"Arial",sans-serif">Matri-Arche</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>by
Nin Scolari,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Francesco Puccio<span style="border:none windowtext 1.0pt;padding:0cm"> </span></span></em><b>THEATRICAL SPACES </b>The Spaces of
Syracuse’s Theatre: does the Contemporary Tragic Scene need Archaeological Research?,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Raffaella Viccei</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/
Double Scene for Helen. The Theatre of Syracuse and the Theatre of Verona’,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Raffaella Viccei </span></em>/ Scenarios of the tragic in the conditions
of contemporary urban space,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Pierluigi Salvadeo</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/<span style="border:none windowtext 1.0pt;padding:0cm"> </span><b>CRITICAL
REVIEWS<span style="border:none windowtext 1.0pt;padding:0cm"> </span></b>Persians on the river Tagliamento: Pasolini’s<em><span style="font-family:"Arial",sans-serif;border:none windowtext 1.0pt;padding:0cm"> </span></em><em><span style="font-family:"Arial",sans-serif">The
Turks in Friuli</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>between Aeschylus and Thespis,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Andrea Cerica</span></em> /<span style="border:none windowtext 1.0pt;padding:0cm"> </span><b>PROTAGONISTS<span style="border:none windowtext 1.0pt;padding:0cm"> </span></b>The
actor's costume (Medea, Syracuse 2004),<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Fabio Sartor </span></em>/ Menelaus in Syracuse. Conversation with Sax Nicosia, <em><span style="font-family:"Arial",sans-serif">edited
by Raffaella Viccei</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/ Laura Marinoni, Helen and the lightness of tragic, <em><span style="font-family:"Arial",sans-serif">edited by Raffaella Viccei</span></em><span style="border:none windowtext 1.0pt;padding:0cm"> </span>/
The verticality of the tragic,<span style="border:none windowtext 1.0pt;padding:0cm"> </span><em><span style="font-family:"Arial",sans-serif">by Marina Spreafico</span></em><o:p></o:p></span></p>
<p class="MsoNormal"><a href="https://www.visionideltragico.it/index.php/rivista/issue/view/2" target="_blank" id="m_3893839637352609351m_7159124089757229045gmail-LPlnk979887"><span lang="EN-GB" style="font-family:"Calibri",sans-serif;border:none windowtext 1.0pt;padding:0cm">https://www.visionideltragico.it/index.php/rivista/issue/view/2</span></a><span lang="EN-GB"><o:p></o:p></span></p>
<p style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;text-align:justify;line-height:12.65pt">
<span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E"><o:p> </o:p></span></p>
<p style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;text-align:justify;line-height:12.65pt">
<span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E">Best whishes,<o:p></o:p></span></p>
<p style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;text-align:justify;line-height:12.65pt">
<span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E">Prof. Sotera Fornaro<o:p></o:p></span></p>
<p style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;text-align:justify;line-height:12.65pt">
<span lang="EN-GB" style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E">Università di Sassari<o:p></o:p></span></p>
<p style="mso-margin-top-alt:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;text-align:justify;line-height:12.65pt">
<span style="font-size:11.0pt;font-family:"Calibri",sans-serif;color:#201F1E">email:
<a href="mailto:fornaro@uniss.it" target="_blank">fornaro@uniss.it</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:11.0pt;font-family:"Calibri",sans-serif;mso-fareast-language:EN-US"><o:p> </o:p></span></p>
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