![]() ![]() If in the politically correct Plutus Aristophanes “became the most productive and adaptable personality of the classical and recent Greek heritage”, in the unorthodox Lysistrata –in which profanity, contemporary political satire, and gender relations and reversals abound– the comic poet tested the adaptability and resilience of his specific idiom in different historical and theatrical settings, inviting artists from every age to give their own answers –well-grounded or not, but always dynamic– to the challenging questions that recur in the treatment of his work and of its component parts. The play in question is Lysistrata of 411 BC, a typical “political comedy” of the classical era largely neglected in the scriptorial, publishing and theatrical tradition, but also the one which has enjoyed the widest –and continuously increasing– international appeal since the beginning of the 20 th century, as women’s emancipation has been constantly gaining ground in a world still ravaged by wars, civil or otherwise. ![]()
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