What is Epic Theatre?

2021 ◽  
pp. 31-35
Author(s):  
James Wallert
Keyword(s):  
Epic Theatre

scholarly journals Roman Epic Theatre? Reception, performance, and the poet in Virgil'sAeneid

2003 ◽  
Vol 49 ◽  
pp. 19-39 ◽  
Author(s):  
Andrew Laird
Keyword(s):  
Literary Production ◽  
Reading Practices ◽  
Ancient Text ◽  
Traditional Form ◽  
Ancient Literature ◽  
Epic Theatre ◽  
Roman Epic

Past responses to ancient literature and the reading practices of previous centuries are of central relevance to the contemporary exegesis of Greek and Roman authors. Professional classicists have at last come to recognise this. However, accounts of reception still tend to engage in a traditional form ofNachleben, as they unselfconsciously describe the extent of classical influences on later literary production. This process of influence is not as straightforward as it may first seem. It is often taken for granted in practice, if not in theory, that the movement is in one direction only – from antiquity to some later point - and also that the ancient text which ‘impacts on’ on the culture of a later period is the same ancient text that we apprehend today. Of course it isneverthe same text, even leaving aside the problems of transmission. The interaction between a text and its reception in another place, in another time, in another text, is really a dynamic two-way process. That interaction (which has much in common with intertextuality) involves, or is rather constituted by, our own interpretation of it.

scholarly journals “It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 56
Author(s):  
George Rodosthenous
Keyword(s):  
New York ◽  
South African ◽  
Collaborative Work ◽  
New York Times ◽  
Movement Direction ◽  
The North ◽  
Award Winning ◽  
Theatre Company ◽  
Epic Theatre ◽  
The Uk

Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.

BERTOLT BRECHT'S FUN AND GAMES: AN APPROACH TO THE EPIC THEATRE?

1962 ◽  
Vol 15 (4) ◽  
pp. 285-294 ◽  
Author(s):  
Louise J. Laboulle
Keyword(s):  
Epic Theatre
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