Valentina Adami is a Post-Doc Research Assistant of English literature at the University of Verona, Italy, and Lecturer of English Language at the Free University of Bolzano/Bozen, Italy. She holds a PhD in English Studies (University of Verona, 2010). Her fields of research are literature and trauma; law, literature and culture; ecolinguistics and ecocriticism. She collaborates with the Research Centre Skenè: Interdisciplinary Theatre and Drama Studies and is a member of the European Society for the Study of English (ESSE), of AIA (Associazione Italiana di Anglistica) and of AIDEL (Associazione Italiana Diritto e Letteratura). She is Assistant Editor of Pólemos: A Journal of Law, Literature and Culture (De Gruyter) and Managing Editor of Skenè. Journal of Theatre and Drama Studies

Guido Avezzù has been Professor of Greek Literature at the University of Verona and is co-editor of Skenè. Journal of Theatre and Drama Studies. His main areas of research are Athenian oratory and Greek tragedy. He has published critical editions of Sophocles’ Philoctetes and Oedipus at Colonus (2003 and 2008) and monographs on the relation between myth and tragedy (1988 and 2003). He also edited a selection of rewrites of Electra’s and Oedipus’ myths (2003 and 2008). His latest works include essays on Sophocles Oedipus rex and Oedipus at Colonus, (2012 and 2019), on Aeschylus’ Agamemnon (2018), on Euripides’ Electra and Hecuba (2018 and 2019); on the modern reception of the ancient tragic chorus (2015), on classical tragic paradigms in Shakespeare’s drama (in Shakespeare, Romeo and Juliet, and Civic Life. The Boundaries of Civic Space, Routledge, 2016), and on the reception of Shakespeare’s Julius Caesar in Italy during the first half of the 20th century (in Shakespeare and Crisis. One Hundred Years of Italian Narratives, ed. by Silvia Bigliazzi, John Benjamins, forthcoming).

Chiara Battisti is Associate Professor of English Literature. Her research interests include literature and the visual arts, (with a particular focus on literature and cinema and literature and graphic novel), literature and science, law and literature/culture, gender studies, literature and performative arts (with a particular focus on literature and fashion studies), migration studies and food studies. Chiara Battisti is a member of the European Society for the Study of English (ESSE), of AIA (Associazione Italiana di Anglistica) and of AIDEL (Associazione Italiana Diritto e Letteratura). She is a member of the Advisory Board of the journal Pólemos. A Journal of Law, Literature and Culture

Jaq Bessell has directed over 40 professional productions of plays by Shakespeare and by modern playwrights in New York and London, and in regional theatres across the USA. Her career began in casting at the Guthrie Theater in Minneapolis, and she was Head of Research at Shakespeare’s Globe under Mark Rylance’s tenure, where she advised the Artistic Directorate on early modern stage practices and developed her interest and expertise in verse-speaking. In 2016 she and the renowned dancer and director Lindsay Kemp co-directed Romeo and Juliet for the Verona Shakespeare Festival, and this collaboration led to the founding of NOMA Physical Theatre, whose somatic approach to classical text exceeds the boundaries of language and disciplines. Jaq regularly leads workshops in verse-speaking, Shakespeare, and the Viewpoints, in the UK, in France and in Italy. She has taught in conservatoires on both coasts of the USA, and now leads the MA/MFA Acting programme at the Guildford School of Acting. She is the author of Shakespeare in Action for Arden Shakespeare, and has published extensively on Shakespeare in performance, in chapters and articles which stem from her work as a director and teacher of acting.

Silvia Bigliazzi is Professor of English Literature and Director of the Skenè Research Centre at Verona University. Her fields of interest include Shakespeare, the English Renaissance and the Classical legacy, early modern drama literature and the visual arts, performance and translation studies. Among her publications, Il colore del silenzio. Il Novecento tra parola e immagine (Marsilio 1998), Oltre il genere. Amleto tra scena e racconto (Edizioni dell’Orso 2001), Sull’esecuzione testuale (ETS 2002), Nel prisma del nulla. L’esperienza del non-essere nella drammaturgia shakespeariana (Liguori 2005), John Donne. Poesie (with Alessandro Serpieri, Rizzoli 20092), William Shakespeare. Romeo e Giulietta (Einaudi 2012), the Italian translation of the Arden edition of Double Falsehood (Rizzoli 2012), and the edition of several collections of essays (Distraction Individualized. Figures of Insanity in Early Modern England, Cierre 2012; Theatre Translation in Performance, Routledge 2013, Revisiting the Tempest. The Capacity to Signify, Palgrave 2014; Shakespeare, Romeo and Juliet, and Civic Life, Routledge 2016) as well as Journal Special Issues (Scepticism and The Culture of ParadoxEnglish Literature 1 2014; Diegesis and MimesisSkenè 2.2 2016; The Tyrant’s FearComparative Drama Part 1: 51.4 2017, and Part 2: 52.1-2 2018).  For Skenè. Texts and Studiesin 2019 she has edited Oedipus at Colonus and King Lear. Classical and Early Modern Intersections, and Julius Caesar 1935. Shakespeare and Censorship in Fascist ItalyShe is co-General Editor of Global Shakespeare Inverted(Bloomsbury), Skenè. Journal of Theatre and Drama StudiesSkenè. Texts and Studies, and Anglica (ETS).

Simona Brunetti is Lecturer in Methodology and Criticism of Performing Arts and Media and Performance at the University of Verona (Italy). Her main field of research includes Italian stage direction, nineteenth-century Italian and French theatre, and Renaissance and Baroque spectacular activities with a special attention to Commedia dell’Arte. Beside two monographs on Italian stagings of Lady of the Camellias by Dumas fils (2004 and 2008), she wrote several essays and a volume – “Autori, attori, adattatori” (2008) – on the connections between texts and Italian acting practice in the nineteenth century. She also collaborated onthe critical edition of Victor Hugo’s Angelo, tyran de Padue, edited by Elena Randi (2012), and together with Marco Prandoni in 2018 she edited the first Italian critical edition of Gysbreght van Aemstel by Joost van den Vondel. She has coordinated the Herla Project at the “Umberto Artioli” Foundation in Mantua since 2009, after long being part of the research team. The Herla Project entails collecting the documentation related to the Gonzaga theatrical patronage at the height of their maximum splendor (1480-1630). In April 2017 she was also appointed Chairman of the Scientific Committee of the same institution. More recently, she has been investigating Italian acting and playing traditions between the seventeenth and the twentieth century.

Rosy Colombo

Andrea Coppone graduated in 2008 from Scuola del Piccolo Teatro in Milan. He has worked with many directors such as Luca Ronconi, Luis Pasqual, Serena Sinigalia, Alfonso Santagata, Gianluca Guidi, Corrado D’Elia, Gigi Dall’Aglio, Leo Muscato, and Stefano De Luca. He has also collaborated with choreographers Malou Airaudo, Lindsay Kemp and Wim Vandekeybus. In 2011 he took part in the Arlecchino servitore di due padroni, directed by Giorgio Strehler. From 2011 to 2013 he worked in the dance-theatre collective Balletto Civile, directed by Michela Lucenti (Woyzeck; Sacro della primavera, winner of the Roma Danza 2011 award; So much; Paradise). He has been working with the shadow puppetry company Teatro Gioco Vita since 2014. In 2018, he won the prize as Best Performer at the 52nd International Puppet Theater Festival in Zagreb for the show Il cielo degli Orsi, and the Eyes Wide Open Rome 2018/2019 Prize for the show Il più furbo, directed by Fabrizio Montecchi. In 2016, with director Jaq Bessel, he founded the theatrical project Noma Physical Theatre, a training path between pedagogy and performing arts, which led him to debut in 2018 as director of Medea: a work in progress. Since 2019, he has been teaching “Movement for actors” in the Animateria training course.

Bianca Del Villano is Associate Professor of English Language and Linguistics at the University of Naples “L’Orientale”. She holds a PhD in English Literature from the University of Turin and a PhD in English Linguistics from the University of Rome Tor Vergata. Her research interests span among pragmatics, stylistics, cognitive and literary linguistics. She is currently working on (im)politeness in early modern English texts and on the pragmatics of drama. Her publications include Using the Devil with Courtesy. Shakespeare and the Language of (Im)politeness (Peter Lang, 2018). She is the Director of the Argo Centre (Studies in Argumentation, Pragmatics and Stylistics).

Sidia Fiorato is Associate Professor of English Literature. Her fields of research include: detective fiction, legal thriller, literature and the performing arts (theatre, dance, musical), visual culture, gender issues, the postmodern fairy tale, Shakespeare studies. She is a member of the following associations: AIA (Associazione Italiana di Anglistica), ESSE (European Society for the Study of English), AIDEL (Associazione Italiana Diritto e Letteratura), AirDanza (Associazione Italiana di Ricerca sulla Danza). She is member of the Advisory Board of the journal Pólemos. A Journal of Law, Literature and Culture (DeGruyter).

Jason Lawrence is Senior Lecturer at the University of Hull, his primary area of research interest is the literary and cultural relationships between Italy and England in the Renaissance period and beyond. His first monograph, ‘Who the Devil taught thee so much Italian?’: Italian language learning and literary imitation in Early Modern England (2006), explored the relationship between methods of learning Italian in sixteenth and seventeenth-century England and techniques of imitation in response to popular Italian literary materials. His recent monograph, Tasso’s art and afterlives: the ‘Gerusalemme liberata’ in England (2017), focuses on the reception in England of the life and work of the great sixteenth-century Italian poet Torquato Tasso, spanning literature, opera, and the visual arts from the 16th to the 19th centuries.

David Lucking is full professor of English at the University of Salento, where he teaches in the Department of Humanistic Studies. He was educated in Canada, Turkey and England, and holds a Joint Honours BA in English Literature and Philosophy and a PhD in English Literature from the University of Leeds. He has published books on William Shakespeare, Joseph Conrad, Margaret Laurence, the narrative construction of identity in Canadian Literature, and the myth of the fall in English Literature. His most recent full-length works are Making Sense in Shakespeare, published as part of the Costerus New Series by Rodopi in 2012, and Shakespearean Perspectives: Essays on Poetic Negotiation, published as part of the FILLM Studies in in Languages and Literatures series by John Benjamins Publishing Company in 2017.

Lucia Nigri is a Senior Lecturer in Early Modern English Literature at the University of Salford-Manchester (UK). Her research interests focus on early modern literature with a particular emphasis on drama. She has written articles on intertextuality in John Webster’s plays (Il Confronto Letterario 2007), maternal misrecognition in early modern tragedies (Nuova Cultura 2010), the notion of identity in Shakespeare and his contemporaries (Universitalia 2011), the question of authorship in Arden of Faversham (Memoria di Shakespeare, Bulzoni 2012), the relation between dominant and marginal languages in translating for the theatre (Routledge 2013), performativity in the Victorian adaptations of The Tempest (Palgrave 2014), on the natural and monumental body in Romeo and Juliet (Routledge 2016 and ETS 2019) and on appropriations of Shakespeare in the Eighteenth-Century Italian Narratives (Skenè 2019). She has extensively written on the figure of the malcontent (Notes and Queries 2012 and ETS 2014), on intertextuality on stage (Anglica 2014), and on skepticism and self in Elizabethan and Jacobean period (English Literature, 2014). More recently, she has co-edited a volume on Forms of Hypocrisy in Early Modern England (Routledge 2018) and co-edited a Special Issue dedicated to “John Webster’s Theatre of (Dis)obedience and Damnation” (American Notes and Queries 2018).

David Schalkwyk is Professor of Shakespeare Studies and Director for the Centre for Global Shakespeares at Queen Mary University of London.  He completed his DPhil at the University of York in 1992, a Wittgensteinian critique of the Saussurean theory of the sign and a reconsideration of the relationship between literature and the world, published as Literature and the Touch of the Real (Delaware, 2004) and extended to Bakhtin in Words in the World: The Bakhtin Circle (Skenè, 2016). He has published on Shakespeare, including Speech and Performance in Shakespeare’s Sonnets and Plays (Cambridge, 2002), Shakespeare, Love and Service (Cambridge, 2008) and Shakespeare, Love and Language (Cambridge, 2019).  His interest in South African prison writing culminated in Hamlet’s Dreams: The Robben Island Shakespeare (Bloomsbury, 2013). He is co-editor of The Oxford Handbook of Shakespearean Tragedy (2018), the Cambridge Companion to Shakespeare and Language (2019), and has some 150 essays and chapters on literary theory and philosophy (especially Saussure, Derrida, Wittgenstein and J.L. Austin), Shakespeare, and South African prison writing.  He is general editor of the Arden Series “Global Shakespeare Inverted”.

Emanuel Stelzer is a postdoctoral researcher in English Literature at the University of Verona. His main research areas are early modern literature and drama, visual culture studies, and textual scholarship. He is the author of a monograph, Portraits in Early Modern English Drama: Visual Culture, Play-Texts, and Performances (Routledge 2019) and has published articles in journals including The Journal of English and Germanic Philology, Early Theatre, English Studies, Notes and Queries, and Critical Survey. He is an YWES contributor, as well as managing editor of Skenè: Journal of Theatre and Drama Studies. He is working on a digital archive of early modern paradoxes and on the sources of Much Ado About Nothing.

Savina Stevanato received her PhD from Università Ca’ Foscari Venezia. She is currently a tenure track researcher at Università Roma Tre. Her research interests mainly lie in the field of intermedial studies, with a focus on the relationship between the verbal, the visual, and the musical codes, and on postmodern adaptations. Among her publications are: Visuality and Spatiality in Virginia Woolf’s Fiction (P. Lang 2012); “Hamlet’s Distancing Devices: Verbal and Visual Marks of Modernity” (RLMC 2016); “‘Between the Acts’ of Hybrid Spaces” (Anglistica AION 2016); “Angela Carter e John Ford: il Peccato dell’identico” (CUE 2017), “The music of poetry”? T.S. Eliot and the case ofFour Quartets” (ETS 2018); “Margaret’s Queenship: A Mirror for Kings” (Aracne 2018); “Anima mundi: per una lettura ecopacifista di Virginia Woolf” (forthcoming Unicopli 2020).

Laura Weston is a dance artist, movement director and Laban practitioner and since graduating from Trinity Laban in 2005 Laura has performed nationally and internationally in works by Sarah Michelson (US), Thomas Hauert (Belgium), Rashpal Singh Bansal (UK), Crystal Pite (Canada), Athina Vahla (Greek), Julia Gleich (US) and Gary Clarke (UK). As a movement practitioner Laura has taught at some of the UK’s leading dance and drama conservatoires teaching Laban, movement fundamentals, ballet, voice for dancers, contemporary dance and contact improvisation as well as working on main stage productions as a movement director, choreographer and Laban coach. Laura was movement director and Laban coach on several bi-lingual Shakespeare productions in Bulgaria between 2015-2017 at the Petrovden Shakespeare Festival including Romeo and Juliet, Twelfth Night and The Taming of the Shrew as well as delivering workshops exploring sonnets and Jacobean texts as part of a cultural student exchange between British and Bulgarian drama students. She was part of the creative team for Jaq Bessell and Lindsay Kemp’s production of Romeo and Juliet in Verona in 2016 as Laban coach and more recently was movement director for Guildford Shakespeare Company’s production of Macbeth 2020.

Tzachi Zamir is a philosopher and a literary critic (Prof. English & Comp. Lit) and currently directs the Honors Program at the Hebrew University of Jerusalem. Zamir is the author of Double Vision: Moral Philosophy and Shakespearean Drama (Princeton, 2006), Ethics and the Beast (Princeton, 2007), Acts: Theater, Philosophy and the Performing Self (The University of Michigan Press, 2014), Ascent: Philosophy and Paradise Lost (Oxford, 2017) and Just Literature: Philosophical Criticism and Justice (Routledge, 2019). He is also the editor of Shakespeare’s Hamlet: Philosophical Perspectives (Oxford, 2017). 

Roberta Zanoni is Adjunct Professor of English at the Universities of Verona and Bolzano and she holds a PhD in English Literature. Her PhD thesis, on Shakespeare and Advertising, deals with the use made by contemporary advertising of the works and figure of Shakespeare. Her main research interests are Shakespeare and Popular Culture, Shakespeare and contemporary communication, Literature and advertising, Literature and translation, Literature and adaptation. She has recently edited the volume Bestiarium: Human and Animal Representations; and she has also published the essay “La manipolazione del linguaggio in Richard III” in Richard III. Dal testo alla scena ed. Daniela Carpi and Mariangela Tempera.