Barbara Torelli Benedetti, Partenia, a pastoral play. A bilingual edition edited with notes and translation

This edition presents for the first time in print what is probably the earliest known secular, 'regular' play by a woman in Italy. As suggested in the introduction to the work, Torelli's play offers a fascinating example of female dramaturgy and creative adaptation of the pastoral genre in the context of late sixteenth-century Parma. Critical textual study is combined with new biographical material on the author and her literary milieu. The edition provides the first detailed palaeographical study of the complex Cremona manuscript of the play, which unusually includes emendations thought to be in the hand of the author herself (besides others). The transcription also describes for the first time in detail a newly discovered second manuscript of the play in Rome. The play-text is presented in the original Italian with a new facing English translation. Also included is the first transcription of the paratextual verse from the Cremona manuscript and the first transcribed collection of the author’s extant verse (both with translation).

The Life of Galileo and Brechtian television drama

Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.