This text sets out to bring to life the Greek and Roman plays and their staging, evoking the visual and emotional character of performances and dramatic festivals and offering a clear account of the plays and their writers. It attempts to re-create the excitement of the competitions and analyses the practical challenges faced by the playwrights and actors in staging the plays, whether tragedies or comedies. It also aims to bring to life the costumes, masks, stage and scenery, as well as the audience's reactions to the experience. The book gives clear summaries of well-known Greek and Roman plays and their authors, and explores in depth some of the best-known, particularly "Antigone" and "The Clouds". There are many suggestions for further study, including additional reading for both the teachers and pupils, topics for discussion, subjects to write about, and activities for individuals and groups.
Drawing on insights from various disciplines (philology, archaeology, art) as well as from performance and reception studies, this volume shows how a heightened awareness of performance can enhance our appreciation of Greek and Roman theatre.
This book explores the emergence of Greek tragedy on the American stage from the nineteenth century to the present. Despite the gap separating the world of classical Greece from our own, Greek tragedy has provided a fertile source for some of the most innovative American theater. Helene P. Foley shows how plays like Oedipus Rex and Medea have resonated deeply with contemporary concerns and controversies—over war, slavery, race, the status of women, religion, identity, and immigration. Although Greek tragedy was often initially embraced for its melodramatic possibilities, by the twentieth century it became a vehicle not only for major developments in the history of American theater and dance but also for exploring critical tensions in American cultural and political life. Drawing on a wide range of sources—archival, video, interviews, and reviews—Reimagining Greek Tragedy on the American Stage provides the most comprehensive treatment of the subject available.
This collection of twenty essays examines the art, profession and idea of the actor in Greek and Roman antiquity, and has been commissioned and arranged to cast as much interdisciplinary and transhistorical light as possible on these elusive but fascinating ancient professionals. It covers a chronological span from the sixth century BC to Byzantium (and even beyond to the way that ancient actors have influenced the arts from the Renaissance to the twentieth century) and stresses the huge geographical spread of ancient actors. Some essays focus on particular themes, such as the evidence for women actors or the impact of acting on the presentation of suicide in literature; others offer completely new evidence, such as graffiti relating to actors in Asia Minor; others ask new questions, such as what subjective experience can be reconstructed for the ancient actor. There are numerous illustrations and all Greek and Latin passages are translated.
Long ago, when gods and heroes walked the earth in triumph and tragedy, true love and epic deeds were set among the stars... In the city of ancient Corinth, Bellerophon grew up in the corridors of the palace, haunted by his father’s gruesome death, and distrusted and ignored by the rest of his own family. He now spends his life in the shadows of society, and that is how he prefers it. However, the Gods of Olympus have something more in mind for him. After a violent incident in the mountains, Bellerophon is banished from his home for all time. His path leads him to the court of an aged king in Tiryns where he is welcomed at first, but due to the spiteful queen, he is wrongly accused of another crime in a world that seems endlessly cruel. Dejected and uncaring of what happens to him and his hateful life, Bellerophon is sent across the sea to the court of King Iobates of Lykia. At the urging of his seer, the king welcomes Bellerophon as an honoured guest in his home, until he discovers the reason for his arrival. Seeking a way to be rid of Bellerophon, without violating the sacred laws of Zeus, King Iobates commands that he complete three impossible tasks to prove his innocence or bring about his death. With the world set against him, Bellerophon welcomes his imminent end. That is, until he meets the king’s daughter, Philonoe, the only person who has ever believed in him, and whose father has kept a dark secret from for many years. With the Gods and Lykia’s princess on his side, can Bellerophon prove his innocence and help save Lykia and its people? Will he finally accept the fate that the Gods have pressed upon him? Or will he succumb to the despair and hopelessness that have dogged him all of his life? Only by facing his deepest fears and a creature more terrible than any other of the Gods’ creation can Bellerophon truly succeed and become the hero he is meant to be... The Reluctant Hero is an epic retelling of the story of Bellerophon and the Chimera from Greek mythology. It is the fourth book in the Mythologia fantasy series by best-selling and award-winning author and historian, Adam Alexander Haviaras. If you enjoy books by Madeline Miller, Stephen Fry, Natalie Haynes or Jennifer Saint then you will love the Mythologia series. Read The Reluctant Hero today and witness the rise of one of the greatest heroes of the ancient world!
The aim of this book is to explore the definition(s) of ‘theatre’ and ‘metatheatre’ that scholars use when studying the ancient Greek world. Although in modern languages their meaning is mostly straightforward, both concepts become problematical when applied to ancient reality. In fact, ‘theatre’ as well as ‘metatheatre’ are used in many different, sometimes even contradictory, ways by modern scholars. Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question. Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other? As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre. Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.
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