“Dominique Morisseau’s Blood at the Root: Intersectionality and the Jena Six” in Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century. Eds. Penelope Farfan and Lesley Ferris. Ann Arbor: University of Michigan Press, 2021: 211-219.
From the editors’ introduction (p. 8): “In Blood at the Root (2014), Dominique Morisseau deliberately departs from some of the facts of the actual Jena Six case that inspired her play, resituating the original incident of racial violence among male high school students within diverse group of students who respectively experience racism, misogyny, and homophobia. Through this choice, Juliet Guzzetta argues, Morisseau makes intersectionality the central focus of the play, identifying the multiple prejudices that may have been present in Jena as microcosm, but also suggesting through the play’s choral scenes that possibility of uniting across modes of oppression to protest collectively for change.”
“Ethical Considerations in Ascanio Celestini’s Radio clandestina” in La riflessione etica nel teatro italiano contemporaneo, (The Ethical Reflection in Contemporary Italian Theater). Cristina Perissinotto and Patrizia Piredda, eds. Napoli: Guida Editori, 2018: 233-257.
From the editors’ introduction (p. 14): Juliet Guzzetta analizza il testo di Ascanio Celestini Radio Clandestina, con il quale l’autore racconta l’eccidio delle Fosse Ardeatine avvenuto nel 1944. Guzzetta mette in luce i tropi inventati da Celestini per smascherare le falsità dell’informazione e raccontare la dinamica dei fatti. Partendo dalle riflessioni di Rancière e di Portelli, il saggio di Guzzetta tocca il tema etico di una narrazione orale che utilizza personaggi inventati per par- lare di fatti storici. Secondo Guzzetta, attraverso il teatro di narrazione «Celestini aims to ensure that the pattern of distorting history will not continue into the future». Attraverso questa tecnica narrativa Celestini riesce a ricreare le esperienze di coloro che hanno vissuto quei fatti. Ciò gli permette di ripensare l’etica del teatro come luogo di potenziale valutazione e di riflessione sugli avvenimenti traumatici del passato.
“A Voice of Her Own: Feminism and Subjectivities for a Modern Santa Bàrbera.” A Window on the Italian Female Modernist Subjectivity: From Neera to Laura Curino. Ed. Riccobono, Rossella M. Newcastle, UK: Cambridge Scholars, 2013: 187-201.
From the editors’ introduction (pp. 9-10): JULIET GUZZETTA’s essay explores how the Italian post-modern playwright Laura Curino, one of the leaders of the narrative theatre genre, engages autobiography and micro-histories to explore themes of repression in many of her works. Her essay specifically analyses how [Curino] confronts the boundaries of subjectivity when she enables the first person to speak in several different voices. […] Of particular importance here is the choice of narrative theatre. Curino not only publishes stories in book form, but performs them, implicitly expanding the ways in which one can express ideas to stretch beyond theme and include form. Using one of Curino’s more overtly political pieces, Una stanza tutta per me (2004) as a case study, the essay investigates the ways in which Curino challenges the boundaries of subjectivity, particularly with regard to gender.
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