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Journal articles on the topic 'Ancient greek theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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

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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

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

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Sarang, Prof. Alaknanda. "Ancient Greek Drama: Origins, Evolution, and Legacy." Journal of Research & Development 16, no. 8 (2024): 96–97. https://doi.org/10.5281/zenodo.12705568.

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<strong>Abstract:</strong> This paper delves into the origins, evolution, and legacy of Ancient Greek drama, a foundational cornerstone of Western theatre. From its roots in religious rituals to its sophisticated theatrical productions, Greek drama has profoundly influenced the art form's development and continues to shape contemporary performances. We explore the emergence of tragedy, innovations in theatrical techniques, and the impact of Greek drama on modern theatre. Our examination reveals the enduring significance of Ancient Greek drama, highlighting its continued relevance in contempora

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

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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

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Emir, Haluk, and RIFAT ESER KORTANOGLU. "Cultural Formation and Transference Processes of Ancient Greek Theatre." PHASELIS (Journal of Interdisciplinary Mediterranean Studies) X (December 30, 2024): 91–108. https://doi.org/10.5281/zenodo.14576798.

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Ancient Hellenic theatre, as a central element of the polis life, serves as the focal point of societal actions. The concept of the theatrical, however, is a phenomenon that extends far beyond Hellenic culture, predating the tangible manifestation of theatre by a considerable margin. Although the collective consciousness and ritual practices observed in the Paleolithic, Neolithic and Bronze Ages predate the emergence of Hellenic thought, they played a crucial role in the birth of theatre as a mental concept. The symbolic imagery, and ritual practices encountered in the Paleolithic, Neolithic,

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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.

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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.

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

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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

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

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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

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

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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 Leh

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

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

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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 Theatr

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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 (2021): 75–91. http://dx.doi.org/10.1017/byz.2020.25.

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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

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Ley, Graham. "Sacred ‘Idiocy’ the Avant-Garde as Alternative Establishment." New Theatre Quarterly 7, no. 28 (1991): 348–52. http://dx.doi.org/10.1017/s0266464x00006047.

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Is there a postmodernist theatre – and if so, what was the modernist theatre? What qualifies as avant-garde – and for how long? And why does the ‘established’ alternative theatre lean so heavily on appropriation, whether of ancient myths or contemporary ideologies – such as postmodernism? Graham Ley uses analogies from dance and design to explore our perceptions of and attitudes towards those contemporary theatre practitioners who may once have broken boundaries, but now often head the queue for lavish corporate finance. Graham Ley has taught in universities in England, Australia, and New Zeal

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Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 1 (2024): 56–72. http://dx.doi.org/10.1093/crj/clad029.

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Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe R

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Georgopoulou, Varvara. "Theatre in Greece during the Interwar Period: A General Overview." CONCEPT 27, no. 2 (2024): 26–41. http://dx.doi.org/10.37130/8a1ny819.

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The article attempts to provide an overall overview of the Greek theatre during the interwar period. Specifically, it examines the conditions that influenced playwriting and the establishment and operation of theatrical troupes and institutions. The interwar period sheds light on modern Greek theatre and its darker side, leading up to the current theatrical landscape. The article summarises its impact on theatrical practice, the reception of ancient drama, and the emergence and consolidation of important domains such as directing and theatre criticism within the institutionalisation of basic d

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Dr. Kunvar Shekhar Gupta. "Theatre in Bharat and Greece: A Comparative Study." Voice of Creative Research 6, no. 4 (2024): 49–57. https://doi.org/10.53032/tvcr/2024.v6n4.07.

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This study compares the theatrical traditions of ancient Bharat and Greece, highlighting their lasting influence on global drama. Bharat’s theatre, rooted in the Nāṭyaśāstra, emphasized spiritual and moral enlightenment through rasa, epic narratives, and cosmic harmony. Greek theatre, emerging from Dionysian festivals, focused on human suffering, ethical dilemmas, and catharsis, shaped by playwrights like Sophocles and theorists like Aristotle. While Bharat’s theatre promoted dharma and moksha, Greek drama encouraged civic reflection and philosophical inquiry. Despite differing foundations, bo

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Casali, Giovanna. "Rievocare la musica greca antica." Greek and Roman Musical Studies 10, no. 1 (2022): 217–52. http://dx.doi.org/10.1163/22129758-bja10038.

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Abstract When Ettore Romagnoli was invited in 1914 to stage classical dramas for the ancient Greek theatre of Syracuse, he attempted to re-create their ancient original characteristics, i.e. a combination of poetry, music, and dance. One of Romagnoli’s aims was to create music for contemporary plays, which recalled ancient Greek music, and he succeeded thanks to the collaboration with the composer Giuseppe Mulè. Indeed, for all the tragedies, Mulè and Romagnoli aimed at re-enacting ancient Greek music. This paper will highlight how both authors pursued their ambitious goal following different

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Trubochkin, Dmitry V. "Meyerhold and Antiquity." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 95–105. http://dx.doi.org/10.35852/2588-0144-2024-3-95-105.

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Vsevolod Meyerhold addressed to the ancient Greek dramas and their modern adapta- tions just for a few times in his career; but the “ancient line” can be traced through all of his creative biography starting from the role of Tiresias in Antigone in the first season of Moscow Art Theatre and up to the period of planning and unfinished project construction of Meyerhold Theatre on Triumfalnaya square in Moscow. Both ideas and images of classic antiquity are the basis of Meyerold’s artistic traditionalism. Ancient theatre, according to his belief, together with commedia dell’arte formed the baseme

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Hardwick, Lorna. "Translating Greek plays for the theatre today." Target. International Journal of Translation Studies 25, no. 3 (2013): 321–42. http://dx.doi.org/10.1075/target.25.3.02har.

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This essay discusses the relationship between form, language, rewriting and performance in the contemporary staging of ancient Greek drama, with special attention to the range of working practices of the translators, rewriters and theatre practitioners that are involved in the performance creation process. The discussion is framed by questions about the reciprocal influences of research in translation studies and in classics and about how both can best engage with the insights offered by performance praxis.

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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associ

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Handley, Eric W. "2 - The Ancient Greek Theatre : Tradition, Image and Reality." Bulletin de la Classe des lettres et des sciences morales et politiques 11, no. 7 (2000): 269–301. http://dx.doi.org/10.3406/barb.2000.39071.

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Tsilfidis, Alexandros, Thanos Vovolis, Eleftheria Georganti, and John Mourjopoulos. "Function and Acoustic Properties of Ancient Greek Theatre Masks." Acta Acustica united with Acustica 99, no. 1 (2013): 82–90. http://dx.doi.org/10.3813/aaa.918591.

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23

Di Martino, Giovanna. "Constructing a Hellenic modernism: Aeschylus at the ancient theatre of Syracuse (1914–30)." Classical Receptions Journal 16, no. 1 (2024): 16–34. http://dx.doi.org/10.1093/crj/clad025.

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Abstract This article examines the aesthetic means employed in classical performances produced by the Institute of Ancient Drama (INDA) in Syracuse between 1914 and 1930, with a particular focus on performances of Aeschylus’ tragedies. The first part of this study traces the influences of late nineteenth- and early twentieth-century modernist and avant-garde movements on the Syracusan project, including the experiments pioneered by the radical French gauche, the German productions directed by Hans Oberländer with Ulrich von Wilamowitz-Mollendorf in the role of dramaturg and translator, as well

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Biernat, Justyna. "O kulawym bogu Hefajstosie. W antycznej pracowni Jana Dormana." Pamiętnik Teatralny 68, no. 3-4 (2019): 181–95. http://dx.doi.org/10.36744/pt.12.

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The paper is an analysis of Jan Dorman’s theatre practice in the context of the classical tradition. It examines the archival collections of The Theatre Institute documenting the collaboration of Jan Dorman with Anna Świrszczyńska on the staging of O kulawym bogu Hefajstosie (“The Lame God Hephaestus”), Świrszczyńska’s radio play. The extant correspondence between the creators of the production and the director’s copies permit us to explore and analyse the ways in which classical antiquity inspired Dorman’s work. Although Dorman never adapted any ancient Greek text to the stage, his practice i

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Kaltsounas, Efthymios, Tonia Karaoglou, Natalie Minioti, and Eleni Papazoglou. "‘Communal Hellenism’ and ancient tragedy performances in Greece (1975‐95): The ritual quest." Journal of Greek Media & Culture 7, no. 1 (2021): 69–103. http://dx.doi.org/10.1386/jgmc_00028_1.

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For the better part of the twentieth century, the quest for a ‘Greek’ continuity in the so-called revival of ancient drama in Greece was inextricably linked to what is termed and studied in this paper as a Ritual Quest. Rituality was understood in two forms: one was aesthetic and neoclassicist in its hermeneutic and performative codes, which were established and recycled ‐ and as such: ritualized ‐ in ancient tragedy productions of the National Theatre of Greece from the 1930s to the 1970s; the other, cultivated mainly during the 1980s, was cultural and centred around the idea that continuity

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Ley, Graham. "The Rhetoric of Theory: the Role of Metaphor in Brook's ‘The Empty Space’." New Theatre Quarterly 9, no. 35 (1993): 246–54. http://dx.doi.org/10.1017/s0266464x00007971.

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In his discussion-piece for NTQ 28 (1991), Graham Ley raised questions about the self-determination of the avant-garde, drawing on analogies from dance and design to explore the problem of the post-modern in the theatre. He also outlined a critique of what he called an ‘alternative establishment in theatrical endeavour’: here, he extends that critique into an analysis of the techniques of persuasion to be found in one of the most influential texts in post-war theatrical theory, Peter Brook's The Empty Space, arguing for an enhanced attention to be given to the language and textuality of theory

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Markantonatos, Andreas. "The Reception of Attic Drama in Modern Times: An Outline." CONCEPT 29, no. 2 (2025): 2–16. https://doi.org/10.37130/32wews53.

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This article suggests that the history of the performative revival of Attic theatre in post-revolutionary Greece of the 19th century, with numerous native variations and transformations—which justifiably paves the way for particularly audacious attempts at reconstitution and, on fortunate occasions, successful restaging of ancient performances during the immediately following tumultuous century—serves, on the one hand, as an enlightening reflection of the turbulent historical development of post-revolutionary Greece and, on the other hand, as a resonant sounding board for various theoretical c

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Ringer, Mark. "Stage by Stage: The Birth of Theatre. By Philip Freund. London: Peter Owen, 2003; pp. 811. $79.95 cloth; Women and Humor in Classical Greece. By Laurie O'Higgins. Cambridge: Cambridge University Press, 2003; pp. xviii + 262. $70 cloth." Theatre Survey 46, no. 2 (2005): 321–24. http://dx.doi.org/10.1017/s0040557405260209.

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Both Philip Freund's The Birth of Theatre and Laurie O'Higgins's Women and Humor in Classical Greece deal with Ancient Greek drama. Freund, a theatre historian, attempts a fairly comprehensive survey of both Greek and Roman drama as well as its influence on postclassical theatre, with particular emphasis on the past century. O'Higgins, a classicist, offers what at first glance appears a far narrower exploration that might only be of interest to other classicists. Of the two writers, it is O'Higgins who crafts a readable study that resonates well beyond its ostensibly narrow subject, whereas Fr

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Cueva, Edmund P. "The Living Art of Greek Tragedy. By Marianne McDonald. Bloomington and Indianapolis: Indiana University Press, 2003; pp. 224. $15.95 paper." Theatre Survey 46, no. 1 (2005): 167–68. http://dx.doi.org/10.1017/s0040557405390090.

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Marianne McDonald's book provides a solid introduction to ancient tragedy and theatre. The author examines the works by the three major ancient Greek tragedians, Aeschylus, Sophocles, and Euripides, and supplies for each playwright biographies, synopses of their works, and modern and ancient translations and adaptations of their plays. The listing of the translations and adaptations is selective and spans from the classical period up to the twentieth century.

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Andrushchenko, Elena A. "“...This plan was conceived by me...”: On the background of D. Merezhkovskiy’s forgotten letter to the editors of the “Mir Iskusstva”." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 87–99. http://dx.doi.org/10.17223/18137083/76/7.

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The paper clarifies the circumstances of the publication of a little-known letter by D. Merezhkovskiy in the “Mir Iskusstva” (“World of Art”) journal. The letter was published under the same rubric as a letter by Yu. Ozarovskiy, director of the Alexandrinsky Theatre, a person far from the journal’s editorial board, giving the impression of a public debate between like-minded people. Recreating the details of the struggle for setting ancient Greek tragedies in D. Merezhkovskiy’s translations on the stages of Russian theatres, based on forgotten publications of those years, indicates that the st

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Vovolis, Thanos. "Máscaras acústicas e dimensões sonoras do Teatro grego antigo." Classica - Revista Brasileira de Estudos Clássicos 25 (2012): 149–73. http://dx.doi.org/10.14195/2176-6436_25_9.

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Stiros, Stathis C. "Doric Foot and Metrological Implications of the Ancient Theatre of Makyneia, Western Greece." Metrology 2, no. 3 (2022): 387–94. http://dx.doi.org/10.3390/metrology2030023.

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Understanding the length and subdivisions of ancient length units is necessary for Archaeology, Architecture, and engineering, among other fields. These metrological units derive from anthropocentric concepts (fathom, cubit, foot, finger, etc.) and hence their metrological characteristics are variable and unknown for various ancient civilizations. The Roman length units are well determined, but the ancient Greek units are not. A rule sculpted in a metrological relief recently permitted the recognition of the Doric foot as having a length of 327 mm, but the broader use and divisions of this len

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REVERMANN, MARTIN. "The ‘Cleveland Medea’ Calyx Crater and the Iconography of Ancient Greek Theatre." Theatre Research International 30, no. 1 (2005): 3–18. http://dx.doi.org/10.1017/s0307883304000835.

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This article examines a spectacular example of Greek theatre-related vase iconography, the so-called ‘Cleveland Medea’, by studying the ways in which a painter appropriates iconography for his own narrative purposes. Of special interest are the interactions called for by the vessel from its prospective viewers in the symposium context. Throughout, the artefact is treated as an important document of the cultural history of Greek tragedy in the fourth century BCE.

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Gulkhara, Ahmadova, and Elza Farzaliyeva. "Theatre as a Reflection of Social Change: How Dramatic Arts Capture Cultural Shifts and Historical Transformations." Acta Globalis Humanitatis et Linguarum 2, no. 1 (2025): 254–61. https://doi.org/10.69760/aghel.02500133.

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Theatre has historically functioned as a reflection of society, encapsulating cultural changes, historical developments, and social turmoil. Theatre, from ancient Greek tragedies to modern digital performances, has mirrored political conflicts, economic hardships, and the perspectives of excluded groups. This study examines the evolution of theatre as a medium for social commentary, resistance, and education. It analyzes significant historical events, such as the Theatre of the Oppressed, revolutionary play, and postcolonial theatre, emphasizing their influence on political movements and cultu

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Rocconi, Eleonora. "Before the Première: Recording the Performance of Ancient Greek Drama." Dramaturgias, no. 5 (October 27, 2017): 10–21. http://dx.doi.org/10.26512/dramaturgias.v0i5.8103.

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Ancient Greek theatre, a multimedia spectacle (originally conceived for a unique performance) which involved words, music, gestures, and dance, has always been a challenge for scholars investigating its original performance. This paper explores the possibilities of the performative elements of the plays to be recorded during their theatrical staging, that is, before their première. More in detail, it examines the probability that — given the rhythmic and melodic nature of ancient Greek language and the descriptive and/or perlocutionary character of the scenic information within the texts — th

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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (2008): 229–45. http://dx.doi.org/10.1017/s0266464x08000298.

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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of met

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Di Martino, Giovanna, Eleftheria Ioannidou, and Sara Troiani. "Introduction A Hellenic Modernism: Greek Theatre and Italian Fascism." Classical Receptions Journal 16, no. 1 (2024): 1–15. http://dx.doi.org/10.1093/crj/clad026.

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Abstract The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits dur

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Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist gover

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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek New Comedy." New Theatre Quarterly 20, no. 3 (2004): 245–64. http://dx.doi.org/10.1017/s0266464x04000144.

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Chris Vervain is a mask maker who has for a number of years trained and directed in performing masked drama. On the basis of research she has undertaken, using her own masks, on how to perform the ancient Greek plays, in this article she questions some of the modern orthodoxies of masked theatre, drawing specifically on her experience with Menander's New Comedy. With David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001) and, with Richard Williams, ‘Masks for Menander: Imaging and Imagining Greek Comedy’ to Digital Creativ

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Wagener, Isabell. "Performing Ploutos." ARYS. Antigüedad: Religiones y Sociedades, no. 19 (November 16, 2021): 439–60. http://dx.doi.org/10.20318/arys.2021.5251.

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The question of the relation of ritual and theatre has long been debated and may never come to a satisfying result. Nevertheless, certain features of theatrical performances, especially in the ancient Greek poleis, show a close connection of both performative acts. In particular, there is a strong interdependence of the dramatic agon and religious festivals, such as the Great Dionysia and the Lenaia. The aim of this article is to shed a new light not only on the relation of theatre and ritual, but also on the reception of theatre in the visual arts and the impact it had on religious developmen

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Wilmer, Steve. "Greek Tragedy as a Window on the Dispossessed." New Theatre Quarterly 33, no. 3 (2017): 277–87. http://dx.doi.org/10.1017/s0266464x17000318.

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In this article Steve Wilmer discusses adaptations of Greek tragedy that highlight the plight of the displaced and the dispossessed, including Janusz Glowacki's Antigone in New York, Marina Carr's Hecuba, and Elfriede Jelinek's Die Schutzbefohlenen, which is notably emblematic among appropriations of ancient Greek plays in referencing the problems facing refugees in Europe. He considers how this latter play has been directed in a variety of ways in Germany and Austria since 2013, and how in turn it has been reappropriated for new dramatic performances to further investigate the conditions of r

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Casali, Giovanna. "Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)." Classical Receptions Journal 16, no. 1 (2024): 73–90. http://dx.doi.org/10.1093/crj/clad027.

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Abstract This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festi

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Jackson, Lucy. "Ghostly Reception and Translation ad spiritum: The Case of Nicholas Grimald’s Archipropheta (1548)." Translation and Literature 32, no. 2 (2023): 139–56. http://dx.doi.org/10.3366/tal.2023.0546.

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When considering the landscape of drama and theatre performance in the sixteenth century in terms of classical reception, original plays written in Latin have not been accorded full attention. The many hundreds of Latin plays written and performed in England alone in this century were potentially vital locations for experimentation and for the reception not only of obvious Roman models but also of ancient Greek plays. In this article, one example, the biblical Latin drama Archipropheta by the scholar, poet, and playwright Nicholas Grimald (1519–1562), is examined to show how it is haunted by a

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Nicolau Jiménez, Adriana. "María José Ragué Arias, pionera en el estudio del teatro contemporáneo hispánico y catalán con perspectiva de género." Revista de Filología de la Universidad de La Laguna, no. 44 (2022): 29–50. http://dx.doi.org/10.25145/j.refiull.2022.44.02.

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María José Ragué Arias (Barcelona 1941-2019) was a Catalan scholar, theatre critic, playwright and feminist activist. This article focuses on a particular aspect of Ragué’s career: her contributions to the study of contemporary Hispanic and Catalan theatre from a feminist perspective. Following an overview of her intellectual career, this article explores the different aspects of this part of her work: the study of the contemporary rewritings of ancient Greek theatre female characters, the reception of feminist anglophone theatre studies, the analysis of the theatre field from a gender perspec

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Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (2018): 99–114. http://dx.doi.org/10.1017/s0266464x18000027.

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In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy's contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy's competitive and conflictual negotiation of performance space, understood in relation to the cultural trope of the agon. Drawing on David Wiles's structuralist analysis of Greek drama, which envisages tragedy's spatial confrontations as a theatrical correlative of democratic politics, performed tragedy is here re-framed as a site of embodied contest

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Nikiforaki, Despoina. "L’écran comme vecteur de la mémoire du théâtre." Symbolon 22, no. 1 (2021): 161–66. http://dx.doi.org/10.46522/s.2021.01.14.

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This article shows how Ivo van Hove’s performance Les Damnés, based on Visconti’s film, reuses material from ancient Greek theatre. The stage director introduces the cinematographic idiom with the use of the camera in order to keep the continuity with Visconti’s film. Members of the Von Essenbeck family are characters bearing resemblance to Agamemnon, Clytemnestra, Orestes, Aegisthus and Creusa, Jason’s new wife. Their actions can be understood and magnified by the simultaneous reading of the Greek tragedies (Oresteia, Orestes, Electra, Medea). Thus, we establish the characters’ ancient nature

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Rogers, Megan. "Actors of Dionysus." Journal of Classics Teaching 20, no. 40 (2019): 35–36. http://dx.doi.org/10.1017/s205863101900031x.

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Actors of Dionysus (aod) is a charity and theatre company with 26 years of experience of creating radical adaptations of Ancient Greek drama and new writing productions inspired by myth. Since 1993 we have toured over 50 productions nationally and internationally, performed to over 750,000 people and become the UK's leading interpreters in this field.

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Harrop, Stephe, and David Wiles. "Poetic Language and Corporeality in Translations of Greek Tragedy." New Theatre Quarterly 24, no. 1 (2008): 51–64. http://dx.doi.org/10.1017/s0266464x08000055.

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The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken, and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer; and sketches some of the ways in which the range of possible relations

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Muradyan, Goar Sarkisovna. "Greek tragedians in ancient and medieval Armenia." Shagi / Steps 10, no. 2 (2024): 225–33. http://dx.doi.org/10.22394/2412-9410-2024-10-2-225-233.

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1. А Greek inscription found in Armavir (Armenia) written probably in the 2nd c. BC in a script close to papyrus cursive, contains a fragment from a tragedy similar in style to Euripides. 2. Plutarch writes that the Armenian king Artavazd (Artavasdes) II (55–34 BC) wrote tragedies. He also tells that after the battle of Carrhae in 53 BC Crassus was beheaded and his head was taken to Armenia and cast into the hall, as the head of Pentheus, where, at the court of Artavazd, a tragic actor was singing a part of the Bacchae of Euripides. 3. The plot of Euripides’ lost tragedy The Daughters of Pelia

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Stourna, Athéna-Hélène. "Nouvelles formes performatives dans les pratiques anciennes : Le symposion grec en tant que « mise en perf » . Synesthésie, espace sympotique et performance." Symbolon 22, no. 1 (2021): 39–46. http://dx.doi.org/10.46522/s.2021.01.04.

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The Greek symposion was an all-male drinking celebration that included wine consumption, love, games, philosophical conversation, and live performance by both the symposiasts and by professional artists. Using the terms “performise” and “mise en perf,” coined by Patrice Pavis, this article explores how new performative forms can be found in ancient practices and, more specifically, within the cultural performance that was the Greek symposion. These two terms encompass both the performative and the theatrical character of the symposion that can both be traced through the study of its specific r

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