Table of Contents
Cover
Title Page
Foreword
List of Illustrations
Notes on Contributors
Note on Nomenclature and Spelling
Introduction
The Structure of the Book
References
Part I: The Ancient World
1 The Reception of Greek Tragedy from 500 to 323 BC
Aristophanes’
Frogs
Lycurgus’
Against Leocrates
Vase Paintings
Aristotle’s
Poetics
Guide to Further Reading
References
2 Greek Comedy and its Reception, c. 500–323 BC
Guide to Further Reading
References
3 Greek Drama in the Hellenistic World
Modern Scholarship and Ancient Sources
From Athens to Alexandria: Compiling, Analyzing, and Responding to Greek Drama
Reception of Greek Drama in Early Hellenistic Literature
Conclusion
Guide to Further Reading
References
4 Greek Comedy at Rome
Introduction
Fabula Palliata
Plautus and Terence
Audiences
Fabula Togata,
and the Decline of the
Palliata
Later Developments
Conclusion
Guide to Further Reading
References
5 Roman Tragedy
Introduction: “Translation” or “Reception”?
Republican Tragedy: The First Generations
Late Republican and Augustan Tragedy
Early Imperial Tragedy
Fabulae Praetextae
Conclusion: Roman Tragedy A Remake of the Greek?
Guide to Further Reading
References
Part II: Transition
6 Ancient Drama in the Medieval World
T
he Dwindling of Classical Drama before the Middle Ages
The Anxiety of Influence: Pagan Theater and the Fledgling Christian Church
Usable Pasts: Ancient Drama in Byzantium and the Medieval West, 500–1000
The Rebirth of Tragedy and Comedy, 1000–1350
The Invention of “the Dark Ages” and the Medieval Legacy of Greek Drama
Guide to Further Reading
R
eferences
Part III: The Renewal of Ancient Drama
7 The Reception of Ancient Drama in Renaissance Italy
Introduction
The “Rediscovery” of the Classics in Italy
The Theoretical Debate
The Content of Renaissance Neoclassical Tragedy
Ancient Tragic Themes in the Renaissance World
The Content of Neoclassical Comedy
Commedia Erudita
: from Translations and Adaptations to Original Plays
Conclusion
Guide to Further Reading
References
8 Ancient Drama in the French Renaissance and up to Louis XIV
Guide to Further Reading
References
9 The Reception of Greek Drama in Early Modern England
“Invisible” Hecubas: A Case Study in Early Modern Reception
Epilog
Guide to Further Reading
References
Part IV: The Modern and Contemporary World
10 Greece
In the Name of Revolution and the Nation
The Romanticist Turn and the (Re)Turn to Classicizing
The Modernist Turn and Its Backlash
The Democratic Turn: Classical Tragedy on Greek Prison Islands
The Performative Turn: New Greek Theater under the Military Dictatorship
The Post-1974 Reperformative Turn and Stage Dialectics
The Postmodernist Turn
Drama in a Downturn
Guide to Further Reading
References
11 The History of Ancient Drama in Modern Italy
The Classical Heritage
The Teatro Olimpico
Vittorio Alfieri
The Early Twentieth Century
Comedy and Satire
Gassman and Pasolini
Recent Years
Guide to Further Reading
References
12 The Reception of Greek Theater in France since 1700
1715–1789: Splendor and Misery of Neoclassical Theater
The End of the
Ancien Régime
1789–1914: From Theatrical Revolutions to a Republic of Festivals
1870–1914: Greek Revival
1914–2014: An Age of Reception
Guide to Further Reading
References
13 Germany, Austria, and Switzerland
Introduction
Pre-History and First Endeavors
The Revival of Tragedy in Prussia and Bavaria:
Antigone
in Potsdam (1841)
Trends in Staging Greek Tragedy after 1900
The Twenties and the NS Dictatorship
Ancient Drama in Post-War Germany until the 1960s
The Neo-Avant-garde: The Dionysian Turn
The Berlin
Antikenprojekt
I (1974): Research on Origins
The Berlin
Antikenprojekt
II (1980): A Turn against the Director’s Theater?
Grüber’s
Prometheus
as the Third Act
Post-Dramatic Theater
Mythical Popularization in Zürich
The Latest
Antikenprojekt
in Berlin (2006)
Conclusion
Guide to Further Reading
References
14 The Reception of Greek Drama in Belgium and the Netherlands
Introduction
The Eighteenth Century and Earlier
The Nineteenth Century
From the Turn of the Century to World War II
The Postwar Period
Postdramatic Theater
Guide to Further Reading
References
15 The Reception of Greek Drama in England from the Seventeenth to the Twenty-First Century
Early Years
Prussian Influence Comes to the London Stage
The Early Twentieth Century
Modern English Poets and Greek Drama
Two Approaches to
Oedipus
Features of Classical Drama in Contemporary England
Actors of Dionysus
Conclusion
Guide to Further Reading
References
16 Conquering England
Introduction
Greeks and Irish Cultural Nationalism
Shaping Form
Shaping Content
Conclusion
Guide to Further Reading
References
17 The Reception of Greek Drama in the Czech Republic
Early History or Pre-History?
The First Stage of the Production of Ancient Plays: The Time of Discoveries
The Second Stage of the Production of Ancient Plays: The Substitution Role of Ancient Drama
The Third Stage of the Productions of Ancient Plays: We Return to the Free World
A Synthesis of Current Scholarship and Scholarly Debates
Guide to Further Reading
References
18 Antigone, Medea, and Civilization and Barbarism in Spanish American History
The Head in the Cage
(an Adaptation of
Antigone
)
The Limit
(an Adaptation of
Antigone
)
Antígona Vélez
The Frontier
(an Adaptation of
Medea
)
Guide to Further Reading
References
19 Greek Drama in the Arab World
The Rise of Arab Theater
Greek Drama in the Arab World before the 1920s
Greek Drama in the Arab World from the 1920s to the 1950s
Greek Drama in the Arab World from the 1950s to the Present
The Reception of the
Ichneutai
in the Modern Arab World
Guide to Further Reading
References
In Arabic
20 The Reception of Greek Tragedy in Japan
Guide to Further Reading
References
21 Greek Drama in North America
Medea and Jason
, Haymarket Theatre, Boston, 1798
The Bowery,
Oedipus
, New York, 1834
George Vandenhoff’s
Antigone
, New York and Boston, 1845
The Penn,
Acharnians
, Philadelphia, 1886
Margaret Anglin’s
Antigone
, Berkeley, 1910
Guthrie’s
Oedipus Rex
, Stratford, Ontario, 1954
Schechner’s
Dionysus in ’69
, New York, 1968
Will Power’s
The Seven
, New York, 2006
Guide to Further Reading
References
22 Greek Drama in Australia
Medea: the Greatest Actress of the Century
Tentative Beginnings, 1886–1915
The Anthroposophical 1930s
The 1940s-1955
1955
1956–1966
Enter The New Wave: Reception 1967–1989
1990–2014
1990s Physical Theater
Conclusion
Guide to Further Reading
References
23 The Reception of Greek Drama in Africa: “A Tradition That Intends to Be Established”
Histories and Traditions
Poetics and Politics
Critical Reactions
Guide to Further Reading
References
24 Greek Drama in Opera
From the Invention of Opera to the 1760s
Christoph Ritter von Gluck and
Iphigénie en Tauride
Cherubini’s
Médée
Wagner and Aeschylus
Sergey Taneyev:
Oresteia
Elektra
by Hugo von Hofmannsthal and Richard Strauss
The First Half of the Twentieth Century
The Bassarids
1966–2013
Comedy
Conclusion
Guide to Recommended Viewing/Listening and Further Reading
References
25 Filmed Tragedy
Essences: Tragic/Cinematic
Realism/Anti-Realism: Cacoyannis/Pasolini
Pier Paolo Pasolini (
Oedipus Rex
, 1967;
Medea
, 1970)
Different Sorts of Realist/Anti-Realist Treatments
Films of Theatrical Performances
Films with an Oblique Relation to Ancient Tragedy
The Cannibals
(Liliana Cavani, 1970)
Guide to Further Reading
References
References
Index
End User License Agreement
List of Illustrations
Frontmatter
Figure 0.1 Irene Papas and Costa Kazakos as Clytaemnestra and Agamemnon in
Iphigenia
(1976) directed by Michael Cacoyannis.
Chapter 02
Figure 2.1 One of the earliest West Greek vases depicting what must be an Athenian comedy, since the characters are speaking Attic dialect. The old woman on the right is standing on a stage-platform, on which lie a dead goose and a basket containing (probably) a kid. She is gesturing towards the old man in the center and saying
egō parexō
(perhaps “I’ll provide the evidence” or “I’ll hand him over”). The old man is standing on tiptoe, his arms aloft, and saying (to the young man on the left, it would seem)
katedēs’ anō tō kheire
(“he/she has bound my hands up high”); there is no sign that his hands are physically bound, so he probably means that the woman has immobilized him in this position by a magic spell. The young man, who is carrying a rod, says
noraretteblo
, which is gibberish, so he is a barbarian, perhaps a slave-policeman. Above is the mask of a slave, and at the far left is a young man labeled
tragoidos
“tragic performer”; the former may represent another character in the play, while the relevance of the latter has been variously interpreted.
Chapter 03
Figure 3.1 Water-fountain spout in the shape of the Greek mask of a comic cook from the Hellenistic city of Ai Khanum, modern NE Afghanistan.
Chapter 06
Figure 6.1 Euripides’
Helen
: Ancient Transmission and Medieval Preservation. (a) Fragmentary papyrus scroll, Oxford, Ashmolean Museum (
Pap. Ox. XXII
2336 (Helen,
v. 630ff.)
; (b) Page from parchment codex
Florence, Biblioteca Medicea Laurenziana, Conventi soppressi 172, fol. 19r. (Helen, vv.610–69).
Chapter 07
Figure 7.1 Baldassarre Peruzzi (1481–1536): perspective for a theater scene.
Chapter 08
Figure 8.1 Charles Le Brun’s frontispiece engraving (two men fighting) in Corneille’s
Horace
1641. Trinity College Dublin Library.
Chapter 09
Figure 9.1 A facsimile of the front-page to John Pickering's
Horestes
(1567). It shows characters drawn from both morality plays and Greek tragedy.
Chapter 11
Figure 11.1 Vincenzo Pirrotta as Ulysses in ‘
U Ciclopu
by Luigi Pirandello, adapted from Euripides’
Cyclops
and directed by Pirrotta in 2005.
Figure 11.2 Chorus of Satyrs from ‘
U Ciclopu
by Luigi Pirandello, adapted from Euripides’
Cyclops
and directed by Pirrotta in 2005.
Chapter 12
Figure 12.1 Chorus of
Les Bacchantes
in André Wilms’s staging at the Comédie Française in 2005.
Chapter 13
Figure 13.1 Mendelssohn sketch of the stage for the Potsdam performance of Sophocles’
Antigone
in 1841. It shows, from the top, the stage on which the actors perform, a rounded space in which the chorus stand (they do not appear on the raised stage), the level where the orchestra are seated and the seating for the king and the courtiers.
Figure 13.2 Photograph of a scene from Klaus Michael Grüber’s staging of
Bakchen
in Berlin in 1974 at the Schaubühne. It shows Bruno Ganz as Pentheus with the chorus of Bacchae in the theatrical space designed by Gilles Ailland and Eduardo Arroyo.
Figure 13.3 The famous trial scene from the
Eumenides
with the chorus of Erinyes or Furies in diving suits and Jutta Lampe as Athena, who, as judge, endeavors to bring the wild beings under her influence. In the background the Athenian citizen jury waits to vote.
Chapter 14
Figure 14.1 Translations per ten-year period.
Figure 14.2 Productions per ten-year period.
Figure 14.3
Lysistrata
, directed by Walter Tillemans, 1971. Female cast in silk crocheted dresses designed by Ann Salens.
Chapter 15
Figure 15.1 Steven Berkoff’s
Oedipus
production of 2011, showing Tiresias and the cast with Oedipus in the background.
Figure 15.2
aod
’s
Helen
adapted by Tamsin Shasha and with Tamsin Shasha as Helen.
Chapter 17
Figure 17.1 Vlastislav Hoffman’s design for the stage set for
Oedipus the King
directed by Karel Hugo Hilar at the National Theatre in Prague in 1932.
Chapter 21
Figure 21.1 Photo of Will Power’s 2007 adaptation of Aeschylus’
Seven Against Thebes
as
The Seven
.
Chapter 22
Figure 22.1 Queenie van de Zandt, Natalie Gamsu and Jennifer Vuletic with Robyn Nevin in Sydney Theatre Company’s
Women of Troy
, 2008, directed by Barrie Kosky.
Chapter 23
Figure 23.1 From the 2012 performance at the Arts Theatre, University of Ibadan of
Women of Owu
by Femi Osofisan and directed by ‘Tunde Awosanmi: with Omowumi Sunday as Lawumi and Simileoluwa Hassan as Anlugbua.
Chapter 24
Figure 24.1 Astrid Varnay as Klytämnestra and Leonie Rysanek as Elektra in Götz Friedrich’s 1981 film of Richard Strauss’
Elektra
.
Chapter 25
Figure 25.1 Michael Cacoyannis directing Vanessa Redgrave in
The Trojan Women
(1971)
Guide
Cover
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