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Engramma issue no. 146 “Theatrum mundi” includes contributions by Alessandra Pedersoli, Stefania Rimini, Andrea Tisano, Francesca Auteri, Giuseppe Cuscunà, Antonia Di Rosa, Andrea Tisano, Danae Antonakou, Elisa Bastianello, Marco De Marinis, Raoul Kirkhmayr, Nadja Argypoulou, Monica Centanni, Anna Fressola, Anna Ghiraldini.

The article explains how director Valerio Binasco managed to syncretize modern sensitiveness, while preserving Euripidean poetry. The Chorus, untied from the core of the plot, suggests the idea of a multi-cultural context like the title itself means and underlines. This choice is respected by Binasco in his interpretation of the Aeschylean play. Despite the fact that a few moments may seem parodical, precisely during these scenes we experience a persuasive research of Euripides’ thought about humanity: as Aristotle suggests, Euripides tries to devise his characters as they are, and not as they should be. The challenge, in this performance, is successful.

The current work deals with three fragmentary comedies of Aristophanes whose titles imply a female chorus and a relevant rule of the woman in the comical situation: Danaids, Phoenician Women and Skenas katalambanousai. Starting from Kassel and Austin’s edition of the comical fragments (PCG), it was appropriate to draw up a comment on a linguistic, stylistic , dramaturgical line and according to what is left of the three compositions. That led to put forward some hypothesis about the possible topic of the comedies, about the connection with the myth – in particular of the Danaids and Phoenician Women, and about any parodical intents.