ABSTRACT
This essay explores Divina, an initiative at the university of Turin from 1989–1998 that included several conferences with artists and critics, and two published edited collections. With these gatherings, Laura Curino, Mariella Fabbris, and Antonia Spaliviero of the experimental theatre group Laboratorio Teatro Settimo aimed to ensure a theatre history that recognized them and other female theatre artists. The excerpts in this anthology offer a snapshot of the first published volume of essays entitled Divina: Vicende di vita e di teatro (Events in Life and Theater), which demonstrate the early stages of a dialectic theory where the matching of collective thinking with the solitary process of autobiographical reflection leads to a specific mode of theatre-making.
