Brecht and Tragedy

2021 ◽  
Author(s):  
Martin Revermann
Keyword(s):  
Greek Tragedy ◽  
Complex Relationship ◽  
Extensive Discussion ◽  
Complete Set

This wide-ranging, detailed and engaging study of Brecht's complex relationship with Greek tragedy and tragic tradition argues that this is fundamental for understanding his radicalism. Featuring an extensive discussion of The Antigone of Sophocles (1948) and further related works (the Antigone model book and the Small Organon for the Theatre), this monograph includes the first-ever publication of the complete set of colour photographs taken by Ruth Berlau. This is complemented by comparatist explorations of many of Brecht's own plays as his experiments with tragedy conceptualized as the 'big form'. The significance for Brecht of the Greek tragic tradition is positioned in relation to other formative influences on his work (Asian theatre, Naturalism, comedy, Schiller and Shakespeare). Brecht emerges as a theatre artist of enormous range and creativity, who has succeeded in re-shaping and re-energizing tragedy and has carved paths for its continued artistic and political relevance.

The Orchestra as Acting Area in Greek Tragedy

Ramus ◽  
1985 ◽  
Vol 14 (2) ◽  
pp. 75-84 ◽  
Author(s):  
Graham Ley ◽  
Michael Ewans
Keyword(s):  
Greek Tragedy ◽  
Close Relation ◽  
Central Problem ◽  
Classical Drama ◽  
Considerable Experience

For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.

Socioeconomic Status and Family Well-Being: Untangling a Complex Relationship

2009 ◽  
Author(s):  
Eylin Palamaro ◽  
Tanya Vishnevsky ◽  
Lauren Michelle McDonald ◽  
Ryan P. Kilmer ◽  
James Cook
Keyword(s):  
Socioeconomic Status ◽  
Well Being ◽  
Complex Relationship

Leone de' Sommi and Jewish Theatre in Renaissance Mantua

2009 ◽  
Vol 29 (2) ◽  
pp. 5-19
Author(s):  
Donald Beecher
Keyword(s):  
Sixteenth Century ◽  
The Political ◽  
Complex Relationship ◽  
Social Negotiations ◽  
Renaissance Artist ◽  
The Way

This is a study of a Renaissance artist and his patrons, but with an added complication, insofar as Leone de' Sommi, the gifted academician and playwright in the employ of the dukes of Mantua in the second half of the sixteenth century, was Jewish and a lifelong promoter and protector of his community. The article deals with the complex relationship between the court and the Jewish "università" concerning the drama and the way in which dramatic performances also became part of the political, judicial and social negotiations between the two parties, as well as a study of Leone's role as playwright and negotiator during a period that was arguably one of the best of times for the Jews of Mantua.

Brahmi legends on Umayyad Fulus: Interrogating local minting practices and numismatic transculturation in Gandhara (ca. 750 CE)

Afghanistan ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 153-165
Author(s):  
Waleed Ziad
Keyword(s):  
Base Metal ◽  
Late Antiquity ◽  
Eighth Century ◽  
Political Authority ◽  
Unusual Feature ◽  
Complex Relationship ◽  
Contact Zones ◽  
Confessional Identity ◽  
Derivatives Of

This paper concerns a historically significant find of copper derivatives of Umayyad post-reform fulus from Gandhara, probably minted in the mid-eighth century under Turk Shahi sovereignty (c. 667–875). The coins share an unusual feature: two Brahmi aksharas on an Umayyad AE prototype, inversely oriented to a partially-corrupted Arabic legend. These base metal coins represent perhaps the only known caliphal imitative varieties issued by moneyers beyond the eastern limits of Umayyad and Abbasid sovereignty. They have the potential to inform our understanding of the complex relationship between political authority, confessional identity, and coin typology in late antiquity – particularly within early “Hindu”– “Muslim” contact zones. Moreover, they provide invaluable clues into the circulatory regimes of Umayyad coinage.

The Russian nationalist movement at low ebb

2018 ◽  
Author(s):  
Alexander Verkhovsky
Keyword(s):  
The State ◽  
Complex Relationship ◽  
State Repression ◽  
Subsequent Increase ◽  
Nationalist Movement

This chapter examines changes in the Russian nationalist movement from Russia’s annexation of Crimea until the State Duma elections in September 2016. Since 2014, the nationalist movement has been split over which side to support in the war in Ukraine. Then, with the subsequent increase in state repression of ultra-rightists, the movement lapsed into total decline. The chapter traces activities in various sectors of Russian nationalism, discussing the separate trajectories of the pro-Kremlin and oppositional nationalists, as well as the latter group’s further subdivision into groups that support or oppose the ‘Novorossiia programme’. Attention is paid to the complex relationship and interaction between the various groups of nationalists, as well as to their interaction with the powers-that-be and with the liberal opposition.

Reading and Interpreting Variants inCome and Go,Va-et-vientandKommen und Gehen

2015 ◽  
Vol 24 (1) ◽  
pp. 75-86
Author(s):  
Pascale Sardin
Keyword(s):  
Greek Tragedy ◽  
French Translation ◽  
The Uncanny ◽  
Famous Paper ◽  
Textual Variants ◽  
Insight Into

This paper focuses on textual variants in Come and Go, Va-et-vient and Kommen und Gehen and considers these variants as thresholds (Genette, 1997) into these works. This paper aims to show how Beckett's self-translating process, which was prolonged and complicated in the case of his plays when he directed them himself, produces a number of possible textual confusions, but also how these complications constitute insight into the Beckettian text. Indeed variants and rewritings point to moments in the writing and rewriting process when Beckett met ‘resistant vitalities’ mentioned by George Steiner in After Babel (1975). To illustrate this, I study Beckett's first ‘dramaticule’, Come and Go, by examining its pre-texts, the French translation, and Beckett's production notebooks for Kommen und Gehen. In these texts, I explore the motifs of death and ocular anxiety, as studied by Freud in his famous paper on ‘The Uncanny.’ I show how the Freudian uncanny actually reveals the parodic archaism of Beckett's drama, as a parallel is drawn between the structure of Beckett's play and Greek tragedy. Beckett's sometimes ‘messy’ rewritings in Come and Go, Va-et-vient and Kommen und Gehen served the performing intuitive perception in us of death, an issue explored here through the trope of femininity. Furthermore, comparing Beckett's Come and Go and Va-et-vient makes it easier to see Beckett progressing towards what Deleuze called a ‘theatre of metamorphoses and permutations’ in Difference and Repetition – a monograph published in France the very year Come and Go was first produced (1966).

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