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Since epic narrative Clytemnestra’s story has played a leading role in the history of classical tradition, due to the great significance and semantic complexity of her figure. Major themes – Dike, Hybris, gender relations, parent-child relationships – intertwine with her human profile, and this interweaving has been declined in many ways over the centuries. It also offers today a rich material for rewritings in a psychological key, thus giving rise to innovative strands. The aim of this paper is to analyse three Italian theatrical texts from this point of view: Valeria Parrella’s Il verdetto, Osvaldo Guerrieri’s Clitennestra deve morire, and Alma Daddario’s Clitennestra.
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