Greek Tragedy for the Modern Stage - Frederic Raphael, Kenneth McLeish (trs.): Aeschylus, Plays, Vols. 1 and 2. Introduced by J. Michael Walton. Pp. xxxiv + 153; xxix + 130. London: Methuen, 1991. Paper. - Don Taylor (tr.): Sophocles, The Theban Plays. Pp. lii + 200. London: Methuen, 1986. Paper, £2.99. - Robert Cannon, J. Michael Walton, Kenneth McLeish (trs.): Sophocles, Plays, Two: Ajax, Women of Trachis, Electra, Philoctetes. Introduced by J. Michael Walton. Pp. xxvii + 227. London: Methuen, 1990. Paper. - Jeremy Brooks, David Thompson, J. Michael Walton (trs.): Euripides, Plays, One: Medea, The Phoenician Women, The Bacchae. Introduced by J. Michael Walton. Pp. xxxv + 149. London: Methuen, 1988. Paper, £3.99. - P. D. Arnott, Don Taylor, J. Michael Walton (trs.): Euripides, Plays, Two: Hecuba, The Women of Troy, Iphigeneia at Aulis, Cyclops. Introduced by J. Michael Walton. Pp. xxxi + 207. London: Methuen, 1991. Paper. - Don Taylor (tr.): Euripides, The War Plays: Iphigenia at Aulis, The Women of Troy, Helen. Pp. xlix + 205. London: Methuen, 1990. Paper.

1993 ◽  
Vol 43 (1) ◽  
pp. 13-15
Author(s):  
Everard Flintoff
Keyword(s):  
Greek Tragedy ◽  
Iphigenia At Aulis

scholarly journals Don Taylor, the ‘Old-Fashioned Populist’? The Theban Plays (1986) and Iphigenia at Aulis (1990): Production Choices and Audience Responses

2018 ◽  
pp. 123-146 ◽  
Author(s):  
Lynn Fotheringham
Keyword(s):  
Greek Tragedy ◽  
Multiple Cameras ◽  
Television Drama ◽  
Close Analysis ◽  
Mise En Scene ◽  
Audience Responses ◽  
Television Audience ◽  
Ancient Drama ◽  
As If ◽  
Iphigenia At Aulis

This chapter explores the production contexts for and audience responses to The Theban Plays (BBC, 1986), a trilogy of plays by Sophocles, and Euripides’ Iphigenia at Aulis (BBC, 1990), the last productions of Greek tragedy that would be broadcast on British television for twenty years. These four plays were directed by Don Taylor at the end of a long career in television from 1960. Taylor’s commitment to studio-bound drama, shot as if live on multiple cameras, could be seen as old-fashioned by the mid-1980s, as could his ‘Reithian’ commitment to democratizing works from the dramatic canon via television. Nevertheless these productions garnered enthusiastic as well as critical comments from both newspaper reviewers and the audience sample surveyed by the BBC. This chapter demonstrates how various features of the productions, including an anti-realistic mise-en-scène and the uses made of the multiple cameras, align with and reflect Taylor’s published views on television drama. Close analysis of the wide variety of opinions expressed by those watching underline the complex social, political and aesthetic issues involved in judging attempts to put ancient drama before a modern television audience.

scholarly journals Os autores da Ifigênia em Áulis de Eurípides

2010 ◽  
Vol 2 (2) ◽  
pp. 57
Author(s):  
Wilson Alves Ribeiro Jr.
Keyword(s):  
Greek Tragedy ◽  
Title Page ◽  
Modern Approach ◽  
First Time ◽  
Iphigenia At Aulis

<div class="page" title="Page 57"><div class="layoutArea"><div class="column"><p><span>O texto da <em>Ifigênia em Áulis</em>, tragédia de Eurípides encenada pela primeira vez em 405 a.C., juntamente com <em>Bacchae</em> e <em>Alcmeon</em>, chegou até nós com inegáveis sinais de adulteração e de interpolações. No presente trabalho são discutidos os elementos mais importantes para a moderna abordagem do texto legado pela tradição medieval e para a identificação das passagens que podem ser atribuídas a Eurípides ou aos retractatores da <em>Ifigênia em Áulis</em>. </span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>The authors of Euripides’ Iphigenia at Aulis </strong></p><p><span><strong>Abstract</strong> </span></p><p><span> The text of Iphigenia at Aulis</span><span>, Euripides’ tragedy staged for the first time in 405 a.C. t</span><span>o- gether with Bacchae and Alcmeon, reached us with undeniable signs of adulteration and interpolations. This work presents and discuss the most important elements for a modern approach of the text received from medieval tradition and for identification of passages that can be ascribed to Euripides or to Iphigenia in Aulis retractatores. </span></p><p><span><strong>Keywords:</strong> Iphigenia at Aulis; Euripides; Greek tragedy; manuscripts </span></p></div></div></div><p><span><br /></span></p></div></div></div>

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.

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).

Diversifying Greek Tragedy on the Contemporary US Stage

2018 ◽  
Author(s):  
Melinda Powers
Keyword(s):  
Cross Section ◽  
Performance Studies ◽  
Greek Tragedy ◽  
Live Performance ◽  
Greek Drama ◽  
The Us ◽  
Social Concerns ◽  
Performance Context ◽  
Historical Identity ◽  
Ancient Drama

Demonstrating that ancient drama can be a powerful tool in seeking justice, this book investigates a cross section of live theatrical productions on the US stage that have reimagined Greek tragedy to address political and social concerns. To address this subject, it engages with some of the latest research in the field of performance studies to interpret not dramatic texts in isolation from their performance context, but instead the dynamic experience of live theatre. The book’s focus is on the ability of engaged performances to pose critical challenges to long-standing stereotypes that have contributed to the misrepresentation and marginalization of under-represented communities. Yet, in the process, it also uncovers the ways in which performances can inadvertently reinforce the very stereotypes they aim to challenge. This book thus offers a study of the live performance of Greek drama and its role in creating and reflecting social, cultural, and historical identity in contemporary America.

Classical Presences and ‘Post Dramatic’ Performances

2018 ◽  
Author(s):  
Nurit Yaari
Keyword(s):  
Prime Minister ◽  
Greek Tragedy ◽  
Israeli Society ◽  
The Political

This chapter looks at theatrical productions created in the wake of the assassination of Prime Minister Yitzhak Rabin in 1995, which sought to convey the shock that permeated Israeli society as a result, and to provide theatrical responses to help the grieving community come to terms with his death. The chapter analyses the theatrical oeuvre of four post dramatic theatre creators—Ruth Kanner, Ilan Ronen, Rina Yerushalmi, and Hanan Snir—who saw Greek classical tragedy as a vast artistic arena where the political, the humanistic, and the artistic-performative merge, encompassing present and past, myth and history. Moreover, classical Greek tragedy allowed them to project their most disturbing concerns about the Israeli present and future by tearing apart the well-known texts, deconstructing their dramatic templates, and editing, adapting, revising, and redesigning their content in the decades after Rabin’s assassination, when hope gave way to despair.

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