Log in

Relevant bibliographies by topics / Ancient greek theatre

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Ancient greek theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Ancient greek theatre.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Ancient greek theatre"

1

Griffith, R. Drew. "Corporality in the Ancient Greek Theatre." Phoenix 52, no. 3/4 (1998): 230. http://dx.doi.org/10.2307/1088669.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Antoniou, Michaela. "Performing Ancient Greek Tragedy in Twentieth-Century Greece: Dimitris Rontiris and Karolos Koun." New Theatre Quarterly 33, no. 1 (January 10, 2017): 31–46. http://dx.doi.org/10.1017/s0266464x16000610.

Full text

Abstract:

In this article Michaela Antoniou gives an account of the two prevailing acting schools in ancient Greek tragedy in the twentieth century, as formed and developed by Dimitris Rontiris at the National Theatre and Karolos Koun at the Theatro Technis (Art Theatre). She discusses how these two great theatre masters directed, guided, and taught their actors to perform tragedy, arguing that Rontiris's approach stemmed from a text-based perspective that focused on reciting and pronunciation, while Koun's developed from a physical and emotional approach that prioritzed actors and their abilities. Her article summarizes each director's philosophy regarding the Greek tragedies, and discusses the position of the genre within modern Greek theatre, mapping the process employed by the actors, and analyzing their method in order to illustrate the different perspectives that the two great directors had with regards to approaching and performing a role. Michaela Antoniou completed her PhD at Goldsmiths, University of London, and is currently working as an external collaborator of the Department of Theatre Studies, National and Kapodistrian University of Athens. She has also worked on the stage as an actress and playwright, and is a published author.

APA, Harvard, Vancouver, ISO, and other styles

3

Barkas, Nikos. "The Contribution of the Stage Design to the Acoustics of Ancient Greek Theatres." Acoustics 1, no. 1 (March 23, 2019): 337–53. http://dx.doi.org/10.3390/acoustics1010018.

Full text

Abstract:

The famous acoustics of ancient Greek theatres rely on a successful combination of appropriate location and architectural design. The theatres of the ancient world effectively combine two contradictory requirements: large audience capacity and excellent aural and visual comfort. Despite serious alterations resulting from either Roman modifications or accumulated damage, most of these theatres are still theatrically and acoustically functional. Acoustic research has proven that ancient theatres are applications of a successful combination of the basic parameters governing the acoustic design of open-air venues: elimination of external noise, harmonious arrangement of the audience around the performing space, geometric functions among the various parts of the theatre, reinforcement of the direct sound through positive sound reflections, and suppression of the delayed sound reflections or reverberation. Specifically, regarding the acoustic contribution of the stage building, it is important to clarify the consecutive modifications of the skene in the various types of theatres, given the fact that stage buildings were almost destroyed in most ancient Greek theatres. This paper attempts to demonstrate the positive role of the scenery in contemporary performances of ancient drama to improve the acoustic comfort using data from a sample of twenty (20) ancient theatres in Greece.

APA, Harvard, Vancouver, ISO, and other styles

4

Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.

Full text

Abstract:

Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.

APA, Harvard, Vancouver, ISO, and other styles

5

Ley, Graham. "Towards a Theoretical History for Greek Tragedy." New Theatre Quarterly 31, no. 2 (April 28, 2015): 144–63. http://dx.doi.org/10.1017/s0266464x15000251.

Full text

Abstract:

Greek tragedy and its theatre have regularly been drawn into modern theoretical formulas about the nature of theatre making, in proposals which have often had their own cause to plead, but which have still been influential on broadly formed views of the theatre in its history. In this essay, Graham Ley argues that much incidental misrepresentation can be found in this kind of writing alongside the occasional remarkable insight, and that the attention given in modern theory to the Greek theatre is generally inadequate. The theorists discussed are Isadora Duncan, Brecht, Boal, and Hans-Thies Lehmann, with examples also taken from performance theory. Ley then goes on to examine what kind of theoretical view of the ancient Greek theatre would be most appropriate today, and offers a vision of it as a dynamic and innovative environment, looking in this second part of the essay at what can be said of early choric tragedy, of the emergence of the actor, and of the innovation of the dramatic scene building. Graham Ley has written essays on various topics over the years for New Theatre Quarterly, but this is his first piece for the journal on his specialist subject, the performance of ancient Greek tragedy.

APA, Harvard, Vancouver, ISO, and other styles

6

Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (January 16, 2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.

Full text

Abstract:

In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.

APA, Harvard, Vancouver, ISO, and other styles

7

Bellia, Angela, and Antonella Bevilacqua. "Rediscovering the Intangible Heritage of Past Performative Spaces: Interaction between Acoustics, Performance, and Architecture." Heritage 6, no. 1 (December 29, 2022): 319–32. http://dx.doi.org/10.3390/heritage6010016.

Full text

Abstract:

The relationship between the shape and social use of Greek and Roman theatres has always been overshadowed by the technical and acoustic analyses of these performance spaces. Relevant ruins illustrate the relationship between performance typology, acoustics, and construction development of ancient theatres, which were mainly determined by the requirements of artistic venues. The music in tragedies and comedies, the dances, and the public speeches performed in the same places helped to shape the constructions according to the requirements of the events. In addition to the need to satisfy social and political interactions, the functions of musical performances and public speeches in theatres were maintained across generations so that they organically coexisted in both Greek and Roman times. This paper presents new insights into the relationships between sound and architecture, focusing on the case study of the Greek–Roman theatre of Katane and its evolution through the centuries. Architectural features have been described in terms of the social functions of the theatre rather than as mere results of geometric rules. A brief comparison with the neighboring odeion of Katane and other Greek–Roman theatres has been made regarding destination use.

APA, Harvard, Vancouver, ISO, and other styles

8

Coldiron, Margaret. "Masks in the Ancient and Modern Theatre." New Theatre Quarterly 18, no. 4 (November 2002): 393–94. http://dx.doi.org/10.1017/s0266464x02220497.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Ley, Graham. "Varifocalism: a Perspective on the Discipline of Theatre Studies." New Theatre Quarterly 30, no. 3 (August 2014): 268–73. http://dx.doi.org/10.1017/s0266464x14000505.

Full text

Abstract:

What is the discipline in which ‘academic drama’ is engaged? Leaving aside debates about an emphasis on theatre or performance as the key term, who is included in the discipline, and how has it reshaped itself over the last decades? Is it right to say there have been major redefining changes, and if so, what are they? Graham Ley is Emeritus Professor of Drama and Theory at the University of Exeter. He has published widely on ancient Greek performance and comparative theory, and is currently preparing an essay on a theoretical history for Greek tragedy. He has previously published in New Theatre Quarterly on developments in Australian theatre (1986), the avant-garde (1991), Peter Brook (1993), Diderot (1995), Tara Arts (1997), and most recently diaspora theatre in the UK (2011). The present discussion is adapted from the conclusion to Ancient Greek and Contemporary Performance, a collection of essays to be published later in the year by the University of Exeter Press.

APA, Harvard, Vancouver, ISO, and other styles

10

Balaskas, Vasileios. "Local involvement in modern Greek revivals of ancient theatres: Delphi and Epidaurus in the inter-war period." Byzantine and Modern Greek Studies 45, no. 1 (February 26, 2021): 75–91. http://dx.doi.org/10.1017/byz.2020.25.

Full text

Abstract:

Local community participation in the revival of ancient theatres as venues in Greece shaped the dynamics of the cultural reception of inter-war performances at Delphi and Epidaurus. Here I analyse local involvement within and beyond the theatrical context of the Delphic Festivals, as well as the long-standing identification of the village of Ligourio with the theatre of Epidaurus. These relationships reflect distinctive dimensions of the clash between community-led and institutional archaeology, which dominated national discourse on authenticity and identity. At the same time, the prospects of economic development through tourism in such remote areas encouraged local receptiveness to the revival of ancient theatres.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Ancient greek theatre"

1

Moloney, Eoghan Patrick. "Theatre for a new age : Macedonia and ancient Greek drama." Thesis, University of Cambridge, 2003. https://www.repository.cam.ac.uk/handle/1810/272022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Matthews, Laura S. "DIRECTING THROUGH ANCIENT MOVEMENT: An Experiment Exploring Ancient Greek Choral Structures on the Modern Stage." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5731.

Full text

Abstract:

This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to create a more specific story through gesture and space, bridges the gap between the audience and action onstage, and should be the foundation of how directing is taught in academic settings.

APA, Harvard, Vancouver, ISO, and other styles

3

Yildirim, Mehmet Salih. "Experiencing The Ancient Theatre: A Perspective On Interpreting The Ancient Greek And Roman Theatre Through Reflections From The Space Of The Performer." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615367/index.pdf.

Full text

Abstract:

This thesis, in the very broad sense, evaluates the perception of an architectural structure through its history. It examines the &lsquo
theatre&rsquo
as the building and selects &lsquo
ancient Greece and Rome&rsquo
(mainly fourth century B.C. to second century A.D. which can be depicted as the golden age of the ancient theatre) as the period. It posits that the study of theatre requires more than formal data, hence, it employs a multidisciplinary approach, and combines the author&rsquo
s personal experience on the theatre. The study believes that the subject-focused nature of available works is insufficient for the study of theatre, as they employ only a certain aspect of this structure. This thesis tries to examine the complete experience of the theatre for the people who were exposed to it
and present it, in a more relatable way, for the future researchers, theatre professionals and educated enthusiasts as an intermediate level source, where the need arises to increase the perception of theatre as a whole concept, so that its interpretation can be more complete.

APA, Harvard, Vancouver, ISO, and other styles

4

Theodoraki, Anezina. "SEEING THE SEEING PLACES A Video Documentary on the Historical Significance of the Ancient Greek Theatres of Lato, Thorikos, and Makynia." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1082120594.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Hazel, Ruth Mary. "The mediation in late twentieth-century English theatres of selected ancient Greek tragedy texts and themes concerned with women and power." n.p, 1998. http://ethos.bl.uk/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Jackson, Lucy C. M. "The Athenian dramatic chorus in the fourth century BC." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:6a2c8350-1b7e-4abb-982b-ff958c8d7276.

Full text

Abstract:

This thesis tackles a conspicuous absence in current scholarship on ancient theatre. Amid the recent scholarly interest in the rapid expansion of the theatre industry from the late fifth-century BC onwards, no study has been made of a central, defining even, element of ancient Greek drama at that time – the chorus. Instead, what we find is a widespread assumption concerning the fourth-century dramatic chorus, particularly with regard to the comic chorus, still prevalent in today’s scholarship: ‘The history of the dramatic chorus is one of decline both quantitatively and qualitatively’, states one of the more detailed recent reviews of the evidence for dramatic choral culture in the ancient world (Csapo and Slater 1995:349). The thesis focuses on the literary sources available to us concerning fourth-century dramatic choruses in Athens. The material is divided into three sections. The first section addresses the important testimony of Aristotle concerning the choruses of his day, particularly in the Poetics (chapter one). The second section analyses the choral text in the (probably fourth-century) Rhesus (chapter two), the interpolated choral passages in the Iphigenia at Aulis and Seven Against Thebes (chapter three), and the choruses of Aristophanes’ Assemblywomen and Wealth, as well as extant fragments of fourth-century comedy (chapter four). The third section is a survey of how the chorus is used in a wide range of fourth-century texts (chapter five), and gives special attention to Plato’s somewhat idiosyncratic presentation of the chorus in his works (chapter six). These analyses show 1) that ‘decline’ is an inappropriate term to describe the development of the chorus and 2) the creativity with which the chorus is used and thought about in fourth-century drama and society. The thesis aims to provide an elucidation of dramatic choral activity in the fourth century and to provoke further interrogation of the assumptions commonly held about the development of both the ancient chorus and ancient drama as a whole.

APA, Harvard, Vancouver, ISO, and other styles

7

Ross, Iain Alexander. "The New Hellenism : Oscar Wilde and ancient Greece." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:574a4841-5fb9-4b1f-bd09-6965c9ecef1c.

Full text

Abstract:

I examine Wilde’s Hellenism in terms of the specific texts, editions and institutions through which he encountered ancient Greece. The late-nineteenth-century professionalisation of classical scholarship and the rise of the new science of archaeology from the 1870s onwards endangered the status of antiquity as a textual source of ideal fictions rather than a material object of positivist study. The major theme of my thesis is Wilde’s relationship with archaeology and his efforts to preserve Greece as an imaginative resource and a model for right conduct. From his childhood Wilde had accompanied his father Sir William Wilde on digs around Ireland. Sir William’s ethnological interests led him to posit a common racial origin for Celts and Greeks; thus, for Wilde, to read a Greek text was to intuit native affinity. Chapters 1–3 trace his education, his travels in Greece, his involvement with the founding of the Hellenic Society, and his defence of the archaeologically accurate stage spectaculars of the 1880s, arguing that in his close association with supporters of archaeology such as J.P. Mahaffy and George Macmillan Wilde exemplifies the new kind of Hellenist opposed by Benjamin Jowett and R.C. Jebb. Chapter 4 makes a case for Wilde’s final repudiation of archaeology and his return to the textual remains of Greek antiquity, present as an intertexual resource in his mature works. Thus I examine the role of Aristotle’s Ethics in ‘The Soul of Man Under Socialism’ and of Platonism in the critical dialogues, The Picture of Dorian Gray and ‘The Portrait of Mr W.H.’ I present The Importance of Being Earnest as a self-conscious exercise in the New Comedy of Menander, concluding that Wilde ultimately returned to the anachronistic eclecticism of the Renaissance attitude to ancient texts.

APA, Harvard, Vancouver, ISO, and other styles

8

Troiani, Sara. "Tra testo e messinscena: Ettore Romagnoli e il teatro greco." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/265461.

Full text

Abstract:

The thesis aims to analyse the reception of the ancient Greek drama by the Italian scholar Ettore Romagnoli (1871-1938), considering his critical essays, translations, and theatre performances. The mutual interaction of these three aspects represents the methodological approach to understand how Romagnoli conceived the interpretation of Greek theatre and its dramatic production in the modern age. The thesis consists of three parts. The first one analyses Romagnoli’s ideas on classical studies and the modern translations of ancient Greek poetry within the Italian culture in the early 20th Century and in opposition to the positivist approach in the classical philology and the Neo Idealistic Aesthetics. Furthermore, an exam of the entire work of Romagnoli as stage director is offered, along with the reconstruction of a mainly unknow controversy after his dismissal from the National Institute of Ancient Drama. The second part analyses Romagnoli’s academic studies on the hypothetical performance of ancient tragedy and comedy and the evolution of Greek poetry from music. It also identifies the possible influence of these theories within his own translations and performances. The last part deals with two examples of translations for the stage: the "Agamemnon" (1914) and the "Bacchae" (1922). On the basis of theatre translation studies and thanks to Romagnoli’s editions of the two works, both placed at his archive and library in Rovereto and rich of notes by the translator himself, the analysis attempts to examine the hypothetical performability and speakability of the two texts and whether cuts or modifications were introduced during the stage productions.
La ricerca si propone di condurre un esame il più possibile esaustivo dell’opera del grecista Ettore Romagnoli (1871-1938) come esegeta, traduttore e metteur en scène del dramma antico. Grazie all’analisi della reciproca interazione di questi tre aspetti si è tentato di comprendere come il grecista abbia concepito l’interpretazione del teatro greco e ne abbia progettato la ‘reinvenzione’ drammatica. Il lavoro si suddivide in tre parti. Nella prima viene condotta una ricostruzione della carriera di Romagnoli nel contesto storico-culturale di inizio Novecento, analizzando le sue idee sul rinnovamento degli studi classici e sull’aggiornamento delle traduzioni della poesia greca. In questo quadro assumono notevole rilievo le polemiche condotte da Romagnoli in opposizione alle maggiori correnti accademico-culturali dell’epoca: l’estetica crociana e la filologia scientifica. Inoltre, l’analisi prende in esame l’idea di messinscena e le produzioni dirette da Romagnoli a partire dagli spettacoli universitari (1911-1913) fino alle rappresentazioni teatrali svolte a Siracusa e in altri teatri e siti archeologici d’Italia (1914-1937), insieme alla ricostruzione di una terza polemica, definita ‘siracusana’, che coinvolse il grecista in seguito alla sua estromissione dall’Istituto Nazionale del Dramma Antico. La seconda parte prende in considerazione gli studi scientifici e divulgativi di Romagnoli circa la ricostruzione dell’ipotetica performace della tragedia e della commedia di quinto secolo a.C. e l’evoluzione della poesia greca dalla musica, individuando, inoltre, le possibili rielaborazioni di queste teorie all’interno delle traduzioni e degli spettacoli teatrali. Nella terza parte si analizzano le traduzioni di "Agamennone" e "Baccanti" che Romagnoli portò in scena a Siracusa. Si è tentato di valutare, anche sulla base degli studi teorici relativi alla traduzione per il teatro, quanto l’attenzione alla ‘performabilità’ e alla ‘dicibilità’ del testo ne avesse influenzato la composizione oppure se fossero stati introdotti tagli e modifiche in fase di produzione degli spettacoli. Le due edizioni di "Agamennone" (1914) e "Baccanti" (1922) che facevano parte della biblioteca privata di Romagnoli presentano infatti annotazioni dell’autore riconducibili proprio ai suoi allestimenti per gli spettacoli al Teatro greco di Siracusa. Il lavoro ha potuto avvalersi di scritti inediti, articoli di giornale e documenti privati custoditi negli Archivi della Fondazione INDA e presso il Fondo Romagnoli, dal 2016 proprietà dell’Accademia Roveretana degli Agiati e attualmente in catalogazione presso la Biblioteca civica “G. Tartarotti” di Rovereto.

APA, Harvard, Vancouver, ISO, and other styles

9

Spinelli, Helena de Negreiros. "O díscolo: estudo e tradução." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-09122009-145805/.

Full text

Abstract:

Este trabalho consiste no estudo introdutório e tradução da comédia O Díscolo, de Menandro, autor grego do século IV a.C. A primeira parte do estudo contempla a apresentação da comédia em seu contexto e sua estrutura dramática. A segunda parte é dedicada à análise das personagens - por ser uma comédia que privilegia os caracteres, julgo importante estender-me sobre eles. Essa seção divide-se em nove partes, cada uma dedicada a uma personagem, exceto no caso da primeira seção intitulada A Divindade, que apresenta uma análise sobre o deus Pã e as Ninfas; e a quinta seção, intitulada Personagens femininas, que traz a análise da menina, filha de Cnêmon, de Simica, e da mãe de Sóstrato. A tradução, segunda realizada no Brasil a primeira é de Mário da Gama Kury tem o objetivo de divulgar a obra do autor grego para o público brasileiro em geral. Com esse intuito, o texto foi vertido para o português em prosa, procurando-se manter o seu ritmo fluido e sua linguagem. Além disso, a linha do verso foi mantida para facilitar a consulta ao original grego.
This work consists in the introductory study and translation of the comedy Dyskolos, of Menander, Greek author of the fourth century BC. The first part of the study includes the presentation of comedy concerning its context and its dramatic structure. The second part is devoted to the analysis of the characters - as a comedy that emphasizes the characters, I consider it important. This section is divided into nine parts, each one devoted to one character, except for the first section entitled The Divine, which presents an analysis of the god Pan and the Nymphs, and the fifth section, entitled Female characters, which conveys the analysis of the girl, the daughter of Knemon of Simike, and of Sostratos mother. The translation, the second one developed in Brazil the first is by Mario da Gama Kury aims to disseminate the work of the Greek author to the Brazilian public. With this purpose, the text was converted to Portuguese on prose, trying to keep its rhythm and language. Besides that, the line of the verse was kept to make it easier the consultation with the original.

APA, Harvard, Vancouver, ISO, and other styles

10

Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.

Full text

Abstract:

This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses. Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences. This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Ancient greek theatre"

1

Saxena, Asha. Ancient Greek and Indian theatre. Delhi: Parimal Publications, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Theatre in ancient Greek society. London: Routledge, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Greek tragic theatre. London: Routledge, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Noto, C. Antonella Di. The ancient theatre of Taormina. Livorno]: Sillabe, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Ley, Graham. A short introduction to the ancient Greek theater. Chicago, IL: University of Chicago Press, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

A short introduction to the ancient Greek theater. Chicago: University of Chicago Press, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

A short introduction to the Ancient Greek theater. Chicago: University of Chicago Press, 1991.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Epidaurus encounters: Greek drama, ancient theatre and modern performance. Berlin: Parodos, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Dionysus writes: The invention of theatre in ancient Greece. Ithaca, NY: Cornell University Press, 1998.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Sewell, Richard C. In the theatre of Dionysos: Democracy and tragedy in ancient Athens. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2007.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Ancient greek theatre"

1

Ley, Graham. "Ancient Greek Theatre and Society: Problems of Study, Reception and Understanding." In Theatre Praxis, 108–27. London: Macmillan Education UK, 1998. http://dx.doi.org/10.1007/978-1-349-26996-9_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Pizzato, Mark. "Ancient Specters (Prehistoric, Egyptian, Greek, and Roman)." In Ghosts of Theatre and Cinema in the Brain, 27–53. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983299_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Yaari, Nurit. "Anchoring Thebes: Defining Place and Space in Ancient Greek Theatre." In Griechisch-römische Komödie und Tragödie, 94–110. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-04216-3_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Moore, Timothy J. "Ludic Music in Ancient Greek and Roman Theater." In Ludics, 181–211. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7435-1_9.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Safran, Meredith E. "Greek Tragedy as Theater in Screen-Media." In A Companion to Ancient Greece and Rome on Screen, 187–207. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118741382.ch8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Taylor Porter, Nancy. "From Alpha to Omega Women: Ancient Greek Origins and Contemporary Re-visions." In Violent Women in Contemporary Theatres, 73–124. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-57006-8_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Ford, Katherine. "What’s Old is New Again: Ancient Greek Theater Alive in the Spanish Caribbean." In The Theater of Revisions in the Hispanic Caribbean, 47–87. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63381-7_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Colace, Paola Radici. "For a Definition of Hyperbola on the Scene of Ancient Greek Theater: Situations and Lexicon." In Perspectives in Pragmatics, Philosophy & Psychology, 25–40. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-12543-0_2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

"II Theatre." In History of Ancient Greek Literature, 750–66. De Gruyter, 2022. http://dx.doi.org/10.1515/9783110426328-022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

FREDERIKSEN, RUNE. "Early Greek Theatre Architecture:." In The Architecture of the Ancient Greek Theatre, 81–96. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Ancient greek theatre"

1

Chronopoulou, Anna. "Music in the service of the directorial vision: The case study of the theatrical performance of Acharnians in 1976 by the Greek Art Theatre (Theatro Technis)." In 8th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2022. http://dx.doi.org/10.32591/coas.e-conf.08.03033c.

Full text

Abstract:

Someone could claim that a well prepared, contemporary theatrical production consists of a thorough planning, a period of rehearsals and the final presentation of the work before the audience. Whether we talk about a collective theatrical organization or a hierarchical one, we should agree upon the fact that the directorial vision could be considered as the motivating gear of a theatrical performance. It is the director’s or the team’s directorial vision – in the cases of alternative, collective theatrical productions – which guides those who participate in a theatrical performance and, therefore, it is commonly accepted by actors and actresses that one should follow instructions, find his path and “build” his role as part of a team which serves a certain objective. Because of the diversity and complexity of modern productions as well as the increasing need for high quality, original performances – in terms of mise-en-scène, acting, stage and costume design, lightning and music – certain professional collaborates are called to participate in the stage of the preparation and contribute to the final aesthetics of a production. In the case of preparing the theatrical performance of an ancient Greek Comedy, the musician plays a significant role, as the choruses of ancient comedy are an integral part of this genre. The performance of the ancient Greek Comedy Acharnes in 1976 by the theatrical group of Greek Art Theatre (Theatro Technis), under the directorial guidance of Karolos Koun and the music which Christos Leontis composed for its needs, is a case study for the current thesis, the analysis of which intends to reveal the way the composer collaborated with the director and the members of the theatre company. The play, written by Aristophanes, was first taught and presented to the ancient Athenian audience in 425 B.C. The choral parts, accompanied by music and sang by the members of the chorus, have since antiquity been considered to be of significant importance for this ancient theatrical genre. It is, therefore, quite intriguing to thoroughly and methodologically examine the way the music composed for the needs of a specific performance contributed to the overall outgrowth of a contemporary attempt to present the ideas and the beliefs of an ancient Greek poet to the modern Greek theatrical audience. Did the composer follow the instructions of the director? Did he serve the directorial vision? Did he interact with the director and the members of the Greek Art Theatre? In what ways and up to what extent was music co-responsible for the commonly accepted success of this particular performance? It will be attempted to answer the above questions with the help of the composer’s personal testimony, his kind contribution of archival material from his personal files, accompanied by the simultaneous, cross-examined analysis of the performance which was filmed in 1976.

APA, Harvard, Vancouver, ISO, and other styles

2

Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

Full text

Abstract:

Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.

APA, Harvard, Vancouver, ISO, and other styles

3

Broerman, Eugene L., Mitchel A. Smolik, and Christine M. Scrivner. "Helmholtz Absorbers: Experiments in Controlling Resonant Pulsation Without the Use of Orifice Plates." In ASME 2007 Pressure Vessels and Piping Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/pvp2007-26246.

Full text

Abstract:

Pressure drop has been used for more than half a century to control resonant pulsation in reciprocating compressor piping. Although avoiding these resonances is the preferred method, this is not possible in many high-speed/variable-speed installations. In these cases, resonant pulsation is often managed by using orifice plates to dampen the response. Helmholtz absorbers are an old technology, used to improve the acoustics of ancient Greek theaters and modern recording studios alike. Although their application in the field of piping acoustics has been well documented, this paper presents new ways in which they have not yet been applied. In this paper, experimental data is shown for a self-tuning Helmholtz absorber, or Side Branch Absorber (SBA) used to cancel a piping length resonance, and for a Virtual Orifice that is used to reduce cylinder nozzle pulsation. These devices open up new doors for controlling pulsation with reduced horsepower costs in reciprocating compressor installations.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!