The essay esamins some religious italian tragedies – Crisanto by
Hortensio Scammacca (1632), Il Pellegrino and Il Bartolomeo by
Tommaso Aversa (1641) (1644) and La Reina di Scotia by Federico
della Valle (1628) – written in the Age of Controriforma and Barocco,
when tragic theatre, in particolar, offers to Christian propaganda
a powerful instrument of moral repentance.
Religious Tragedies stage the war between the Good and Evil and
the final triumph of Good, through rhethorical strategies and a singular
connection between immagins, words, music and theatrical
machines. This kind of plays expresse the authentic meaning of Barocco
religious tragedy
