Greek tragedy is currently being performed more frequently than at any time since classical antiquity. This lavishly illustrated book is the first attempt fully to document and explain its revival. It assembles fourteen essays by specialists from classics, theater studies, and the professional theater, who relate the recent production history of Greek tragedy to social and academic trends.
Greek tragedy is currently being performed more frequently than at any time since classical antiquity. This lavishly illustrated book is the first attempt fully to document and explain its revival. It assembles fourteen essays by specialists from classics, theater studies, and the professional theater, who relate the recent production history of Greek tragedy to social and academic trends.
Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham and Co-Director of the Archive of Performances of Greek and Roman Drama, University of Oxford. Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama, University of Oxford. Amanda Wrigley is Researcher at the Archive of Performances of Greek and Roman Drama, University of Oxford.l
Inhaltsangabe
* 1: Edith Hall: Introduction: Why Greek tragedy since the late 1960s? * 1. Dionysus and the Sex War * 2: Froma Zeitlin: Dionysus in '69 * 3: Helene Foley: Bad women: gender politics in late twentieth-century performance and revision of Greek tragedy * 4: Kathleen Riley: Heracles as Dr Strangelove and GI Joe: male heroism deconstructed * 2. Dionysus in Politics * 5: Oliver Taplin: Sophocles' Philoctetes, Seamus Heaney's, and some other recent half-rhymes * 6: Edith Hall: Aeschylus, race, class, and war in the 1990s * 7: Pantelis Michelakis: Greek tragedy in cinema: theatre, politics, history * 8: Lorna Hardwick: Greek drama and anti-colonialism: decolonising Classics * 3. Dionysus and the Aesthetics of Performance * 9: David Wiles: The use of masks in modern performances of Greek tragedy * 10: Katharine Worth: Greek notes in Samuel Beckett's theatre art * 11: Peter Brown: Greek Tragedy in late twentieth-century opera * 4. Dionysus and the Life of the Mind * 12: Fiona Macintosh: Oedipus in the East End: from Freus to Berkoff * 13: Erika Fischer-Lichte: Thinking about the origins of theatre in the 1970s * 14: Timberlake Wertenbaker: The voices we hear * 15: Amanda Wrigley: Details of productions discussed
* 1: Edith Hall: Introduction: Why Greek tragedy since the late 1960s? * 1. Dionysus and the Sex War * 2: Froma Zeitlin: Dionysus in '69 * 3: Helene Foley: Bad women: gender politics in late twentieth-century performance and revision of Greek tragedy * 4: Kathleen Riley: Heracles as Dr Strangelove and GI Joe: male heroism deconstructed * 2. Dionysus in Politics * 5: Oliver Taplin: Sophocles' Philoctetes, Seamus Heaney's, and some other recent half-rhymes * 6: Edith Hall: Aeschylus, race, class, and war in the 1990s * 7: Pantelis Michelakis: Greek tragedy in cinema: theatre, politics, history * 8: Lorna Hardwick: Greek drama and anti-colonialism: decolonising Classics * 3. Dionysus and the Aesthetics of Performance * 9: David Wiles: The use of masks in modern performances of Greek tragedy * 10: Katharine Worth: Greek notes in Samuel Beckett's theatre art * 11: Peter Brown: Greek Tragedy in late twentieth-century opera * 4. Dionysus and the Life of the Mind * 12: Fiona Macintosh: Oedipus in the East End: from Freus to Berkoff * 13: Erika Fischer-Lichte: Thinking about the origins of theatre in the 1970s * 14: Timberlake Wertenbaker: The voices we hear * 15: Amanda Wrigley: Details of productions discussed
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