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Dissertations / Theses on the topic 'Classical drama'
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1
Petruskevich, Joni. "Silence, suicide, and sacrifice, women in classical drama." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq22550.pdf.
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Hawley, Richard. "Women in Greek drama : speech, status and stereotype." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365565.
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3
Meineck, Peter. "Opsis : the visuality of Greek drama." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12117/.
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How were Greek plays viewed in the fifth century BCE and by deepening our understanding of their visual dimension might we increase our knowledge of the plays themselves? The aim of this study is to set out the importance of the visual (opsis) when considering ancient Greek drama and provide a basis for constructing a form of “visual dramaturgy” that can be effectively applied to the texts. To that end, this work is divided into five sections, which follow a “top-down” analysis of ancient dramatic visuality. The analysis begins with a survey of the prevailing visual culture and Greek attitudes about sight and the eye. Following this is an examination of the roots of drama in the performance of public collective movement forms (what I have called “symporeia”) and their relationships to the environments they moved through, including the development of the fifth century theatre at the Sanctuary of Dionysos Eleuthereus in Athens. The focus then falls on the dramatic mask and it is proposed here that operating in this environment it was the visual focus of Greek drama and the primary conveyer of the emotional content of the plays. Drawing on new research from the fields of cognitive psychology and neuroscience relating to facial processing and recognition, gaze direction, foveal and peripheral vision and neural responses to masks, movement and performance, it is explained how the fixed dramatic mask was an incredibly effective communicator of dramatic emotion capable of eliciting intensely individual responses from its spectators. This study concludes with a case study based on Aeschylus Oresteia and the raising of Phidias’ colossal bronze statue of Athena on the Acropolis and the impact that this may have had on the original reception of the trilogy.
4
Plant, Irene Elizabeth. "Ancient drama : stagecraft and signcraft." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/ancient-drama--stagecraft-and-signcraft(d99beb86-ebb2-4f7d-8f0d-10f923015ec9).html.
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Michelakis, Pantelis. "The mythological figure of Achilles in classical Athenian drama." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300854.
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Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.
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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond Greek tragedy. The diverse ways in which this body of work was approached is framed by the influence of contemporary theatre practice. Alongside this creative enquiry, the thesis explores the impetus which prompted practitioners to turn to classical mythology for inspiration over two millennia since the myths were created. Reflection on the processes which led to the creation of these plays in relation to the author’s own highlights potential conflicts between ancient and contemporary theatre practice, and seeks to explore ways in which the juxtaposition between traditional and contemporary approaches to theatre making can spark creative engagements. The fission between tradition and subversion was a key factor in the creation of the plays now presented, offering possible insights into the ways in which contemporary practitioners can benefit from a playful engagement with traditional practice in order to generate new work.
7
Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama." Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.
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Sibley, Eleanor. "The role of Athena in fifth century Athenian drama." Thesis, University of Nottingham, 1995. http://eprints.nottingham.ac.uk/28597/.
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The goddess Athena is currently perceived through a series of contradictions. She is both warrior and reconciler, killer and patron of the artisan, a goddess who denies her own womanhood and ignores the existence of women. Using Homer's Iliad and Odyssey and the extant complete plays of Aeschylus, Sophocles, Euripides and Aristophanes, this thesis reconciles each of these contradictions both within themselves and with each other. It finds that Athena had a prominent role as goddess of the polis: as a warrior she protected the polis from the external threat of war, and as a reconciler she protected it from the internal threat of civil strife. As polis goddess, Athena encourages peace and prosperity in her city; this requires that she inspire the artisan with techne, and the politician with wisdom. As polis goddess, Athena was also concerned for the perpetuation of her city and as such protected the children who were to be the future citizens, and the mothers who bore and nurtured them. This thesis argues that, as patron of techne, Athena becomes the patron of all women's work (which was all craft work). From this association the evidence of civic religion and the drama is used to argue for a relationship between Athena and Athenian women which was independent from Athenian men, independent from their relationship with Athena, and just as special. A unified interpretation of Athena as the polis goddess affords us a fuller and more realistic image of her as the goddess of Athens and patron of all its people than does one based on the "Imperial Athena" of the fifth century who represents only one side of Athena's nature.
9
Al-Muhammad, Hasan. "Domestics in the English comedy : 1660-1737." Thesis, Bangor University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267347.
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Kampourelli, Vassiliki. "Space in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.
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Homan, Elizabeth A. "Cultural contexts and the American classical canon : contemporary approaches to performing Tennessee William's A Streetcar Named Desire /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9842537.
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Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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Paraskevova, Minka. "Undoing Scotland after devolution in Liz Lochhead's dramatic adaptations of classical texts on page and stage." Thesis, Queen Margaret University, 2014. https://eresearch.qmu.ac.uk/handle/20.500.12289/7338.
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The thesis studies the female voice in the local culture in the post-devolution dramatic adaptations of the Scottish Makar Liz Lochhead. It acknowledges the dramatist’s idiosyncratic approach of fusing poetry and drama in order to question the new internationalist national model in Scotland resembling the main features of anti-colonial nationalisms post 1990s. Central to the thesis is the question of local female voice in the current national debate and whether and to what extent it problematizes the relation between feminism and nationalism in the new civic model introduced after devolution as an internationalist in Scotland. Lochhead’s idiosyncratic voice of a poet and dramatist is interpreted as a non-feminist and non-nationalist with a specific focus on individualised female dramatic representations. The complex semiotic interpretation of the constructed dramatic images by the playwright in her post-devolutionary adaptations of the classics shows a problematic reading of gender difference as cultural identity which appears with distorted features in the political revisions laden with self-satire. She applies metonymic use of female characterisation in order to reflect upon the changes in the cultural, political and linguistic climate, which results in a shift from a post-colonial dramatic discourse to a socio-linguistic one in the understanding of Robin Lakoff about a highly politicised and performative language and identity. The female voice in the local culture is frequently silenced and partially invisible, thus excluded from the political/national debate. However, Lochhead’s subject often re-asserts itself through silent resistance and body visibility to refer to the instability of male political voices and sometimes to ironize their lack of individual identity.
14
Hanink, Johanna Marie. "Classical tragedy in the age of Macedon : studies in the theatrical discourses of Athens." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609148.
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Kipker, Sarah. "Medea: översättningar och omtolkningar : En receptionsstudie av Euripides drama mellan 1860 och 2016." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323790.
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Medea is, even though a mythological woman from ancient Greece, very popular today and her story feels modern, which many recent adaptations clearly prove. How can this ancient material be so applicable and thought-provoking to discuss today? This study shows how different translators and authors have interpreted and re-imagined Medea to make her feel relevant to their contemporary societies. Focus is put on Medea’s roles as a woman and a foreigner, because these aspects are especially relevant today. The following research compares three Swedish translations of Euripides Medea from 1860, 1931 and 2012 with each other and analyses three modern adaptations (a movie by Lars von Trier, a novel by Christa Wolf and a play by Viktor Tjerneld) to reveal similarities and differences in the reception of the ancient material. This is achieved by a close reading and analysis of the source material with a theoretical approach that focusses on classical reception and drama theory. The results show that the different translations only differ in nuanced details because all of them try to stay as true as possible to the ancient Greek original. Only the prefaces and character lists written by the translators reveal significant differences in the values that they express and that are signs of their contemporary societies. The modern adaptations offer more possibilities for changing the original depending on which aspects are important during the time of publication. The results show that Medea’s role as an independent woman is important today, but also that her role as a foreigner becomes even more significant as the debates about refugees are getting more evident in our society.
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Cormack, Raphael Christian. "Oedipus on the Nile : translations and adaptations of Sophocles' Oedipus Tyrannos in Egypt, 1900-1970." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/23624.
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Between 1900 and 1970 seven different versions of Sophocles’ play Oedipus Tyrannos were performed or published in Arabic in Egypt. This thesis looks at the first 71 years’ history of this iconic Greek tragedy in Arabic and the ways it can be used to think through the cultural debates of the period. The long history of contact between Greece and Egypt and the 19th and 20th century interpretations of this history can be used to look at different models of colonial and post-colonial cultural interaction. Classicism offered Egyptian writers a constructive way of looking at their cultural identity and contemporary world – a way which takes in to account the legacies of colonialism but also engages Greek literature to create their own models of nationhood. Following the history of performance and adaptation of the play throughout the 20th century, this thesis offers close readings of the most prominent adaptations of Oedipus, particularly those of Farah Antun (whose text was used for Actor-Director George Abyad’s first version of the play in 1912), Tawfiq al-Hakim (1949), Ali Ahmed Bakathir (1949) and Ali Salem (1970). Using performance and translation theory, I show how performance of translated plays like Oedipus was a crucial but complex part of the formation of an Egyptian dramatic tradition through the dynamic interaction of diverse views of what the theatre should be, using, for instance, the role of singing in turn of the century drama. This thesis also revisits and revises misconceptions about the relationship between Islam and theatre. In addition to examining Egyptian Oedipus’ 19th and 20th century context, I also stress the contribution of performance and adaptation to readings of the original text. In particular, these versions of Oedipus ask questions about monarchical rule and democracy that form one link between this classical play and 20th century Egypt. Through its interdisciplinary approach as well as the close readings it offers, this thesis aims to make valuable contributions to the fields of Arabic Theatre Studies and Classical Reception in Colonial and Post-Colonial contexts as well as Performance and Translation Theory.
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Aydogdu, Merve. "Tragedy At Court: An Analysis Of The Relationship Between Jealousy, Honour, Revenge And Love In John Ford." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615438/index.pdf.
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The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquos Love&rsquo
s Sacrifice (1633) and Lope de Vega&rsquo
s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo
s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.
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Vedelago, Angelica. "The Reception of Sophocles'"Antigone" in Early Modern English Drama." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425407.
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This thesis analyses the reception of Sophocles’ Antigone in early modern English drama in the form of translation and adaptation. It focusses on the only two extant texts that can be defined as a translation or an adaptation of Sophocles’ Antigone by English authors in the early modern period: "Sophoclis Antigone" (1581), a Latin translation by Thomas Watson, and "The Tragedy of Antigone, The Theban Princesse" (1631), an English adaptation by Thomas May. Opting for the historicist strand within reception studies, I argue that these two English Antigones intersect at a crossroads of contexts – theoretical, cultural, literary, and political. Only within these perspectives can these plays be fully understood and their value reassessed. Combining Sophocles’ tragedy both with other classical sources and contemporary models, the two texts challenge the traditional understanding of the early modern compositional approaches of "translation" and "adaptation". Moreover, by potentially alluding to contemporary events, Watson’s and May’s versions of Antigone partly align with, partly destabilize modern interpretations of the Sophoclean original. As direct and declared engagements with the Sophoclean play, Watson’s and May’s "Antigones" are ideal case studies for the flexible conception of the practices of translation and adaptation and for the close relationship between politics and drama in the early modern period.
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Savaget, Nascimento Pedro. "The Roman concept of 'culpa' : a contextualist perspective from drama to jurisprudence." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8220/.
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This thesis investigates how we can better appreciate the Roman concept of culpa without incurring in a contemporary falsification of its original rationale. Using a revisited version of Quentin Skinner’s contextualism in light of Gadamer’s hermeneutics, it proposes a deep immersion into the uses of culpa by authors representing different forms of literary expression: Plautus (comedy), Catullus (neoteric poetry), Lucretius (philosophy), Cicero (rhetoric) and Ulpian (jurisprudence). This selection is justified not only by their diverse literary achievements, but also by the satisfactory state of preservation of their writtings. The aim of the thesis is neither to blend these disciplines into a unified narrative, nor to perform an evolutionary inquiry of the legal notion of culpa, an approach exhaustively pursued by great Romanists albeit based on limited data and much speculation. Instead, this thesis looks at specific authorial interventions to understand the concept as close to the original authors use as possible. This approach flows from the understanding that culpa was not used in Latin literature as an abstract notion, but was in fact explored in various contexts involving conflict and judgment.
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Palechorou, Irene. "How can educational drama be used to facilitate the acquisition of Greek as an additional language by ethnic minority pupils in a Cypriot primary classroom?" Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/50021/.
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Globalisation along with dramatic increases in immigration, have led to increased levels of diversification in modern societies. The rapid change of the Cypriot society to a multicultural and multilingual one has resulted in the presence of a multitude of additional languages in Cypriot primary classrooms, reinforcing the concern for the education of pupils whose first language is other than the dominant language of the country. As a primary school teacher I am concerned in developing an effective pedagogy that can support these pupils’ additional language learning. Thus, the specific action research project at the heart of this research examines how educational drama can be used to facilitate the acquisition of Greek as an additional language by ethnic minority pupils in a Cypriot primary classroom. Throughout this thesis language learning is understood as a social construct, a continual, negotiated exchange of meanings, between the child and the environment, drawing on social theories of language that stress the overarching importance of cultural and social interactions for second language learning. Guided by theory, this research argues for the inter-relationship between social and linguistic processes and how specific drama strategies enable both one and the other. Evidence from this research suggests that a dramatic context that reflects the cultural and linguistic diversity of the classroom has a positive effect in GAL students’ affective variables, and particularly the socio-cultural factors and the personal variables within oneself, as well as the affect on L2 learning of the reflection of that self to other people. Illustrative drama schemes, developed throughout the project, together with concrete examples of children’s work are provided to represent more clearly how living contexts and fictitious worlds can be created within which the different functions of language can be identified and developed. At the same time unconventional and anxiety-reducing strategies for assessing second language learning are presented.
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Hamilton, Christine Rose Elizabeth. "The Function of the Deus ex Machina in Euripidean Drama." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500421429824731.
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Polyakov, Maxim. "The power of time : old age and old men in ancient Greek drama." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:2d238e6d-e040-479a-ae8f-dcf5ecd7e838.
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The study of old age in the humanities has developed significantly in the last few decades, but there is still much scope for progress. This thesis, therefore, seeks to contribute to the growing academic discourse in this area by considering ageing as it is represented in ancient Greek theatre. At the same time, it seeks to take its place within Classical Studies by developing new readings of the plays. To develop a context for its analysis, this study begins with consideration of the contemporary demographics, social position, and stage portrayal of old age, and following this dedicates a chapter to each of the four surviving fifth century dramatists. In Aiskhylos’ Agamemnon, old age emerges as a crucial element in choral self-identity, and an important component of the authority that they display. Following this, the thesis considers the chorus of Euripides’ Herakles, in particular its use of metadramatic language, and the impact this has on plot-development and the representation of their age. The next chapter, on Oidipous Koloneus, shifts to consideration of the protagonist. The old age of Oidipous emerges as a powerful driver of his mental and spiritual power, and forms a striking background to the exploration of his character. The final chapter of the thesis examines how mechanisms of renewal that old men undergo in Aristophanes’ comedies (Knights, Akharnians, Peace, Wasps, Birds) differ across the dramas, and the impact this difference has on their interpretations. Such reassessments of ancient dramatic texts through the lens of old age can provide significant insight into the complexity of old men’s characterisations and of their involvement in the dramas. At the same time (from a gerontological perspective), this thesis’ analysis contributes to the developing discussion of the history of ageing, and highlights the differences between the ancient and modern worlds in this respect.
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Näslund, Christina. "NEOLITHIC SETTLEMENTS ON BALKAN : A comparative study between Durankulak and Sitagroi." Thesis, Uppsala University, Department of Archaeology and Ancient History, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-120185.
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This thesis examines the Neolithic settlements in Durankulak, Danube, north of Bulgaria and Sitagroi in Greek Macedonia at the time when human life went from nomadic and hunting to well organized, agriculture and settled. As a background I present facts about the chronology, I will look for similarities and differences in the climate and the environment of the settlements and then I make a comparison based on the material findings. The facts, analyses and artefacts give a base for understanding the daily life in Durankulak and Sitagroi. By comparing the settlements I will investigate if the Neolithization was a homogenous process on Balkan or if there are differences that indicate external inputs from several directions.
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George, R. H. "Accommodation and coercion in comedy and tragedy : an analysis of the social and political implications of the development of classical Greek drama." Thesis, University of Essex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336945.
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Brown, Mitch. "Menander Offstage." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1479817969256543.
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Van, Essen-Fishman Lucy. "Character through interaction : Sophocles and the delineation of the individual." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c23353ec-cc60-453e-8c58-b13d01840a19.
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In this thesis, I argue that Sophoclean characters take shape through a number of different kinds of interaction. On the most basic level, interaction occurs between characters; interactions between characters, however, provide a framework for interactions between those characters and a variety of more abstract concepts. These interactions, by allowing characters to situate themselves with respect to concepts such as, for example, the social roles which shape the society of the play, provide a more complex picture of the personalities depicted onstage; a fuller view of Antigone’s personality, for example, emerges both from her own interactions with the concept of sisterhood and from the differences between her interactions with that concept and Ismene’s. At the same time, these interactions involve the audience in both the construction and the interpretation of Sophoclean characters; as they watch figures interact with each other onstage, the audience, in turn, interact with their own prior knowledge of the concepts which drive the characters of a play. In my five chapters, I discuss five different areas of interaction. In my first chapter, I look at interactions between characters and myth, arguing that Sophoclean characters emerge out of a tension between novelty and familiarity. In my second chapter, I discuss the interactions between characters and their social roles, looking at the problem of appropriate role performance as it applies to Sophoclean characters. My third chapter deals with characters and their memories; I argue that Sophoclean characters shape and are shaped by their memories of past events depending on shifting present circumstances. In my fourth chapter, I discuss the interactions between characters and the passage of time and suggest that Sophoclean figures are characterized by the ways in which they move through time and respond to its passage. In my final chapter, I look at the use of general statements by Sophoclean characters, arguing that the ability of characters to generalize successfully provides a useful measure of their ability to function in the world of the play.
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Woodward, Stephen Richard. "The uses of classical Greek myth and drama in the education and development of the child with special reference to children aged eleven to thirteen." Thesis, University of Sheffield, 1987. http://etheses.whiterose.ac.uk/6036/.
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In the Introduction the individual's consciousness is placed at the centre of the educational experience. The child's desire to create meaning is argued to be fundamental to the learning process. In Chapter One types of traditional tale are categorised. The similarities are seen as more important than differences and the storyteller as crucial to transmission. In Chapter Two, starting from the Greek civilisation from which they arose, the potential of Greek myths as structures for the development of ethical considerations is argued. A structuralist method of analysis is proposed. In Chapter Three the development of the structure of storylines through a process of storytelling-to-drama is traced within the development of the city-state. The idea of an aesthetic is introduced. In Chapter Four the art of oral storytelling is defined and its value as an educational medium highlighted. The theory of "junctures" is introduced to supplement the structuralist method of analysis of two examples of storyline that follows. In Chapter Five the value of storytelling as a method in educational drama is justified through its presentation of structure for the individual to manipulate in the construction of meaning. In Chapter Six children's work is analysed to show transmission of storyline and the development of aesthetic and ethical awareness through the manipulation of structure. In the Conclusion the implications for Classics, the curriculum and teaching methods are argued. These lie in the value to the individual child of the experiential approach. There are four appendices. The first is a journal describing the creative output of young children. The second is a journal describing the classroom improvisations of children aged eleven to thirteen. The third consists of transcripts and photocopies of dramatic reenactments by children aged eleven to thirteen. The fourth comprises aims of a Classical Studies department and outlines of Greek Storylines.
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Slaney, Helen. "Language and the body in the performance reception of Senecan tragedy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:72f9cf38-6e9c-40a1-b387-12a754e4d0ea.
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Seneca’s contribution to the development of Western European theatre and conceptions of theatricality has been underestimated in comparison to that of Greek tragedy. This thesis argues for the continuous importance of Senecan drama in theatrical theory and practice from the sixteenth century until the present day. It examines significant instances of Seneca in performance, and shows how these draw on particular aspects of Seneca’s style and dramaturgical technique to coalesce into a sub-genre of tragedy termed here ‘hypertragedy’ or the ‘senecan aesthetic’. The underlying premise of this representational mode is that verbal (vocal) performance is a physical act and induces physical responses. This entails the consequential inference that Senecan theatre is not mimetic – that is, based on an isomorphic identification of character with performer – but rather affective; like oratory, it functions through direct, quasi-musical manipulation of the auditor’s senses. The goal of this theatrical form is to articulate extreme states of mind or experiences which cannot be conveyed via conventional mimetic means: pain, frenzy, dissolution of the self. In tracing the theories of tragedy which comprise a narrative contrapuntal to the reception of Seneca onstage, it is possible to identify the factors which have successively constructed, promoted, suppressed, reviled and finally reinstated the senecan aesthetic as philhellenism’s other.
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Melai, Maurizio. "Les derniers feux de la tragédie classique : étude du genre tragique en France sous la Restauration et la Monarchie de Juillet." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040038.
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La présente étude porte sur la pratique du genre de la tragédie classique au XIXe siècle, en particulier sous la Restauration et la Monarchie de Juillet. Ce qui nous intéresse, ce sont les développements les plus tardifs du genre tragique en France, genre dont nous documentons l’évolution et le déclin progressif au cours de la première moitié du XIXe siècle, c’est-à-dire jusqu’à sa disparition des théâtres français, qui a lieu autour de 1850. En nous basant sur un corpus de quatre-vingt pièces, nous essayons de brosser un tableau complet de la tragédie et des auteurs tragiques de la Restauration et de la Monarchie de Juillet, ou plus exactement des quarante années comprises entre 1814 et 1854. Conçu comme l’étude d’un code littéraire, ce travail s’articule en deux parties : dans la première, nous définissons le code tragique post-napoléonien sur la base des constantes formelles qui le caractérisent, en montrant l’évolution que le genre connaît des points de vue stylistique, structurel et plus strictement dramaturgique ; dans une seconde partie, nous examinons les constantes thématiques de ce code, en étudiant les stratégies par lesquelles la tragédie transpose, à travers les sujets historiques fortement allusifs qu’elle traite, les grandes problématiques politico-sociales de son temps. En documentant la continuité qui existe entre cette tragédie tardive et le drame romantique, nous cherchons enfin à valoriser les pièces de notre corpus et à mettre en évidence leurs traits modernes, ce qui nous conduit à rechercher les raisons de la persistance d’un genre traditionnel comme la tragédie classique et les facteurs qui déterminent sa revitalisation au XIXe siècleThis study concerns the practice of the genre of classical tragedy in the nineteenth century, particularly during the Restoration and the July Monarchy. It focuses on the last developments of tragedy in France and documents the evolution and the progressive decline of this genre during the first half of the nineteenth century; that is until its disappearance from French theatres, which took place around 1850. By considering a corpus of eighty plays, this work aims to give a clear picture of the tragic genre and tragic authors of the Restoration and the July Monarchy, or more exactly of the forty years from 1814 to 1854. This work is conceived as the study of a literary code and is divided into two parts: in the first part, we try to define the tragic code of the post-Napoleonic era on the basis of the formal constants which characterise it, showing the evolution of the stylistic, structural and dramaturgic features of tragedy. In the second part, we look at the thematic constants of this code, studying the strategies that tragedy uses to transpose – through the historical and highly allusive subjects that it treats – the principal social and political problems of its time. Finally, by showing the continuity which exists between the declining tragic genre and the romantic drama, we try to valorise the texts in our corpus and to underline their modern features. This leads us to look for the reasons behind the persistence of a traditional genre like the classical tragedy and for the factors which revitalise it in the nineteenth century
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Basile, Giuseppa. "Tucidide e la tragedia." Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/1181.
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Il presente studio indaga le relazioni che intercorrono tra Tucidide e il dramma attico di V secolo a.C. L'argomento è così vasto e gli spunti di ricerca che esso offre sono tali da aver indotto a focalizzare l'attenzione su un passo specifico della Guerra del Peloponneso, l'episodio della "peste" d'Atene, e sull'Edipo Re di Sofocle, in particolare i versi dedicati alla pestilenza tebana, allo scopo di dimostrare, per questa strada, in che senso ed entro quali limiti sia possibile parlare di un rapporto intertestuale fra Tucidide e Sofocle.
Il metodo intertestuale si è dimostrato particolarmente proficuo per l'ermeneutica dell'opera tucididea e una più profonda comprensione dei meccanismi messi in atto attraverso la sua "Kunstprosa", che riceve influssi tanto dalla tradizione poetica quanto dalla poesia e dalla letteratura scientifica contemporanee. In particolare, il passo sulla pestilenza si rivela esemplare e dal carattere tutt'altro che digressivo: in primo luogo, permette di vedere all'opera il metodo tucidideo applicato ad un evento di grandi proporzioni, ma circoscritto cronologicamente; esso concede, altresì, spazio tanto a Tucidide letterato quanto a Tucidide "scienziato", al figlio dell'epoca dei trattati medici e della nascita del metodo "empirico", al laico e colto Ateniese educato alla poesia, ai dibattiti e alla retorica e, non ultimo, al Tucidide frequentatore dei teatri.
In questo complesso quadro, infatti, si collocano le risonanze tragiche. Alcuni elementi che, in genere, si annoverano fra quelli tragici, in realtà, risultano dal confluire in entrambi i testi di una tradizione comune, che genera coincidenze spesso inconsapevoli. Altri casi di corrispondenza rivelano piuttosto l'influsso dell'epoca: degli eventi, del pensiero contemporaneo e della letteratura medica, con l'affermazione del nuovo metodo "empirico" e il tentativo di ripensamento della lingua ai fini di una maggiore specializzazione della stessa.
L' "analisi comparata" ha, dunque, confermato un sostrato comune ai due testi e ai due autori, ma ha, altresì, dimostrato la presenza di spie tematiche, lessicali e ritmiche nell'episodio tucidideo della "peste" d'Atene che fanno pensare ora ad una conoscenza dell'Edipo Re di Sofocle considerato da Tucidide come ultimo anello della tradizione di cui il dramma si farebbe "mediatore", ora ad un rapporto intertestuale con la tragedia il cui unico "filtro" è rappresentato dall'esperienza della pestilenza ateniese che ha accumunato i due autori. Questo rapporto conferisce pregnanza semantica al passo tucidideo oggetto d'analisi, ma non incide sul senso profondo che esso acquisisce nell'opera né compromette il messaggio e l'interpretazione della storia che Tucidide vuol trasmettere.
Il lavoro dimostra, dunque, oltre ai limiti, anche le potenzialità dell'impiego del metodo intertestuale e l'appendice, che ha come oggetto le riprese dell'episodio della "peste" d'Atene da parte di Lucrezio e Giuseppe Flavio, rappresenta un'ulteriore conferma delle possibilità aperte da una corretta applicazione di questo metodo che tenga conto della concezione antica di letteratura e del complesso procedimento "mimetico" che la caratterizza.
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Umewaka, Naohiko. "The inner world of the Noh : the influence of esoteric concepts on the classical drama of Japan, as evidenced through an analysis of the choreographic manuals of the Umewaka family." Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288102.
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Mignacca, Oriana. "Fugienda petimus : la Phaedra di Seneca come sistema complesso di antitesi." Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30063/document.
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La Phèdre de Sénèque au regard de la tradition antithétique : personnages, espace, tempsSeneca's Phaedra as a complex system of antithesis
La Phaedra di Seneca all'incrocio di tradizioni antitetiche : antitesi spaziali, "naturam sequere" e vita contro natura, conflitto parentale, parola e silenzio
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Jendza, Craig Timothy. "Euripidean Paracomedy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1385998375.
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Romero, Rey Sandro. "Género y destino. La tragedia griega en Colombia." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/285678.
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En Colombia, un país entre dos océanos en el norte de la América del Sur, ha habido diversas manifestaciones del arte y la cultura en las que la presencia de la tragedia griega sigue siendo un recurso pertinente para hablar de las heridas de su realidad. Género y destino: la tragedia griega en Colombia es una reflexión enmarcada en sesenta años (entre 1954 y 2014) en los que las obras de Esquilo, Sófocles y Eurípides han estado presentes en sus escenarios, en sus letras o en sus nuevas tendencias audiovisuales. Por un lado, se estudian aquí los tres ejes a partir de los cuales el concepto de lo trágico hace presencia en sus distintas disciplinas artísticas. A saber: la tragedia, desde la perspectiva de la soledad del ser humano. Por otro lado, la tragedia de una sociedad inmersa en una espiral de violencia que no cesa. Y, en tercer lugar, la tragedia como género teatral. Estas tres líneas indican, a su vez, tres modelos de representación en los distintos escenarios colombianos: las puestas en escena ilustrativas (donde se prioriza el texto), las puestas en escena complementarias (donde se pretende crear una ilusión de realidad, conservando el texto pero interrogándolo a través del montaje) y las puestas en escena que prescinden de los versos antiguos, utilizando la tragedia griega como un detonante para enfrentarse a nuevas formas y a nuevas preguntas. Siguiendo las rutas señaladas, el presente estudio emprende un viaje que se remonta a los primeros montajes radiales inspirados en la tragedia griega, hasta llegar a los desafíos posdramáticos de la segunda década del nuevo milenio. Al mismo tiempo, a través de casi cien experiencias artísticas, se vuelve inevitable encontrar el reflejo de un país cercenado por el conflicto armado, donde la realidad y la ficción parecen establecer un tejido en el que se borran los límites entre una y otra. La tragedia griega se convierte en una manera de metaforizar el horror y de dignificar, de alguna manera, el sinsentido de una sociedad que se resiste a salir de su progresivo desconcierto.
“Género”, “Destino”, “Tragedia griega” y “Colombia” son los cuatro ejes que guían la reflexión específica sobre el dolor y su traducción en términos artísticos. En un momento en el que las fronteras del arte tienden a confundirse, el presente estudio persigue las distintas maneras de cómo los versos de la antigüedad sirven para fustigar a una sociedad, en apariencia, lejana a sus modelos de representación. El espacio de la tragedia griega sigue expandiéndose y no sólo se circunscribe al mundo de “las tablas”. Por esta razón, el cine, la narrativa, la poesía o las artes visuales se han apropiado de ciertos mitos específicos de la antigüedad para encontrar puentes de comparación con el mundo contemporáneo. Sendos ejemplos del arte colombiano de finales del siglo XX y comienzos del XXI servirán para mostrar ese diálogo entre el mundo antiguo y el presente.
Pero es al teatro donde, en última instancia, se regresa en las líneas que siguen. Género y destino: la tragedia griega en Colombia navega por las aguas de la historia de las artes escénicas de un país, a través de los grupos de mayor tradición (TEC, La Candelaria, Teatro Libre de Bogotá), pasando por sus mejores vanguardias (Mapa Teatro), reconociendo los puentes internacionales que se cuelan en sus distintas puestas en escena (Polonia, Italia, Grecia, España, Suiza, Guatemala), hasta llegar a las formas más recientes de representación y, de manera inevitable, a los centros de educación artística en donde se han gestado entusiastas proyectos de reconstrucción del espíritu trágico. De otro lado, será en tres grandes ciudades (Bogotá, Medellín, Cali) donde se refleje, de manera más clara, la necesidad de poner en escena distintos modelos teatrales en los que los acertijos de la Grecia antigua se convierten en talismanes reveladores para darle una nueva universalidad a las manifestaciones artísticas del país. Aunque se ha seguido la pista de la tragedia griega por distintos caminos entre selvas, ríos, playas o montañas, es en esta tríada de centros urbanos donde la presencia de los espectros de Esquilo, Sófocles o Eurípides ha sido más clara y, de alguna manera, más renovadora.
En el análisis del recorrido de la tragedia griega en Colombia se verán los modos en que las distintas propuestas teatrales y artísticas han encarado el conflicto de un país mediante las fábulas atroces narradas por los poetas de la antigüedad. En el presente estudio no sólo se viaja hacia atrás en los siglos, sino que se establecen dos necesidades: por un lado, el análisis de un género desde la perspectiva de sus distintas puestas en escena. Y, por el otro, la manera como se manifiestan los distintos signos de la violencia en una sociedad inmersa en un conflicto que pareciera no llegar nunca a un puerto de reconciliación. El teatro en América Latina, al interior de sus mejores vanguardias, ha estado comprometido de manera estrecha con las grandes luchas sociales de sus respectivos países.
Colombia, en particular, ha vivido múltiples violencias y, desde los años cincuenta, ha atravesado el conflicto entre liberales y conservadores, ha pasado a las luchas de las guerrillas de izquierda con el orden establecido, ha narcotizado sus batallas por culpa de la ilegalidad de un negocio que triunfa gracias a su prohibición y, hoy por hoy, todas las sangres parecieran juntarse hasta hacer desaparecer los principios y los fines. En medio de esta borrasca, la tragedia griega se ha reescrito sobre los espacios de representación colombianos, como una de las múltiples maneras de desenredar el hilo de una fortuna que parece estar confundida con el desastre.
Género y destino: la tragedia griega en Colombia es un viaje a través de distintos escenarios de representación y es, al mismo tiempo, una reflexión acerca de una sociedad que pareciera acostumbrarse a convivir con la fatalidad.Genre and Destiny: Greek Tragedy in Colombia is a reflection framed by a period of sixty years (1954-2014) during which time the works of Aeschylus, Sophocles and Euripides have been present on the country's stages, in its literature, and in its emerging audiovisual trends. We'll study the three axes around which the concept of tragedy in its various artistic disciplines makes its presence felt. First, tragedy from the perspective of human loneliness; second, the tragedy of a society caught in a spiral of endless violence; and, third, tragedy as a theatrical genre. These three lines point, in turn, to three models of representation in various Colombian scenarios: illustrative stagings (where text is prioritized), complementary stagings (aimed at creating the illusion of reality, preserving the text, but questioning it through the staging) and stagings which ignore the ancient verses and use Greek tragedy to trigger new forms and new questions. Based on the above, this study travels back in time to the first radio broadcasts inspired by Greek tragedy and on to the post-dramatic challenges of the new millennium’s second decade. At the same time, by taking a close look at nearly one hundred artistic experiences, we analyze a country at war, where reality and fiction seem so closely interwoven that the boundaries between them are indistinguishable. Greek tragedy becomes a metaphor for the horror and a means of somehow dignifying the absurdity of a society that refuses to rise above a progressive state of confusion. "Genre", "Destiny”, "Greek Tragedy" and "Colombia" are the four axes guiding this very specific reflection on pain and the way it is translated through artistic expression. In a time when the boundaries of art seem to have blurred, this study investigates the different ways in which the ancient verses are used to criticize a society that seems to have distanced itself from its models of representation. The space occupied by Greek tragedy continues to grow and is not limited to the stage. Because of this, film, narratives, poetry, and the visual arts have appropriated certain specific ancient myths that make it possible to bridge the gap with the contemporary world. There are many examples of late twentieth-century and early twenty-first century Colombian art that testify to this dialogue between the old and present-day worlds. But this study, ultimately, returns to the theater. Genre and Destiny: Greek Tragedy in Colombia explores the history of the nation's performing arts through some of its most traditional groups (the TEC, La Candelaria, Bogota's Teatro Libre) and best vanguard ensembles (Mapa Teatro), and by recognizing the international influences present in its different stagings (Poland, Italy, Greece, Spain, Switzerland, Guatemala), arriving finally at its most recent forms of representation and, inevitably, the arts education centers where enthusiastic projects are underway to redefine, once again, the tragic spirit. Genre and Destiny: Greek Tragedy in Colombia is both a journey through the country's different stages of representation and a reflection on a society that seems accustomed to living with fatality. It is a study of violence in a society centered on an analysis of its art forms, using the Greek tragedy as an aesthetic trigger.
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McDonald, Matthew William McDonald. "The Good, the Bad, and the Grouch: A Comparison of Characterization in Menander and the Ancient Philosophers." Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1461335881.
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Ferrer, Joshua. "The Community of Women in María de Zayas y Sotomayor’s La traición en la amistad." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1091819243.
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Stear, Ezekiel Glenn. "Dual-language drama as a door to classic literature." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3270.
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The author believes that the mediation of classic literature through drama would increase student's opportunity for academic success on the secondary and post-secondary levels of education. This project develops curriculum and materials using dramatic adaptations of ancient literature created by the author.
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Williams, Ian Kennedy. "Re-igniting the Gothic : contemporary drama in the classic mode." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16033/1/Ian_Williams_Thesis.pdf.
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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
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Williams, Ian Kennedy. "Re-igniting the Gothic: Contemporary Drama in the Classic Mode." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16033/.
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While the gothic in its various interpretations is well established in contemporary culture, the traditional form, rooted in its late eighteenth century literary conventions, would seem to have little relevance for theatre audiences today. A reappraisal of the convention's foundations, however, offers the playwright opportunities to explore new narratives in which the tradition can be re-inflected in the present. An analysis of the writing of my play Burn, which presents as a contemporary family drama, will demonstrate how the narrative can be structured with deliberate reference to the established tropes of the classic gothic mode. It will be shown that a re-engagement with the tradition in concert with new interpretations of the gothic can reinvigorate the form as a mode of playwriting practice.
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Harrison, Tom. "'Guides not commanders' : imitation and contamination of the classics in the comedies of Ben Jonson." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16539.
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This study focuses on the imitative and contaminative creative practices of the Renaissance period, and specifically on how the work of classical authors and playwrights influenced the dramaturgy of Ben Jonson. By 'dramaturgy' I refer to the theories and practical choices that are made when composing a piece of drama, an art form that I see as a primarily intended for performance.1 In line with practice standard to Renaissance studies I generally use the term 'classical' in the non-technical manner to refer to the periods of history in which the Greek and Roman civilisations flourished, roughly from the mid-fifth century BC to the first century AD.
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Huismans, Anja. ""A just and lively image" - performance in Neo-classic theatre criticism and theory." Thesis, Link to the online version, 2005. http://hdl.handle.net/10019/1756.
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CASTAGNA, DONATELLA. "IL TEMA DELLO SCONTRO CULTURALE E DELL'ESILIO NELLA RIPRESA CONTEMPORANEA DELLE MITOGRAFIE DELLA GRECIA CLASSICA: IL CASO DELLE TROIANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/320.
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La tesi si concentra sull'analisi interpretativa e sul confronto culturale tra diverse riprese di un dramma antico sulla scena moderna. L'opera classica scelta è Troiane nella versione euripidea, soggetta a una notevole ripresa d'interesse da parte di registi e drammaturghi nel XX e XXI secolo. Si è inteso concentrare l'attenzione sui più significativi spettacoli e drammaturgie contemporanei (quindi apparsi sulle scene mondiali e, in particolare, italiane del secondo dopoguerra) che tematizzino a diversi livelli la questione del disagio, della violenza e delle forme dell'esclusione e dell'esodo dovuti a uno scontro fra culture antagoniste. Volutamente, sono stati studiati spettacoli poco noti alla critica e al grande pubblico. Il metodo di lavoro seguito è stato adattato alle caratteristiche di ogni allestimento e alla particolarità delle fonti. Infine, ho fornito una valutazione critica della riuscita artistica degli spettacoli e ho confrontato le diverse traduzioni impiegate dai registi.The thesis deals with an interpretation and a cultural comparison among many different contemporary plays based on classic drama. In particular, I examined Trojan Women by Euripides, a tragedy that today is often present on the stage. The thesis presents an account on the most important present-day shows and writings from Italy and other countries about loneliness, violence and exile due to fights between different cultures. On purpose, I studied not generally known shows and plays. The study method has been adapted to every show features and to its evidences. Finally, I valued how and if a show succeeded and made a comparison among different translations of Euripides' trojan women.
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CASTAGNA, DONATELLA. "IL TEMA DELLO SCONTRO CULTURALE E DELL'ESILIO NELLA RIPRESA CONTEMPORANEA DELLE MITOGRAFIE DELLA GRECIA CLASSICA: IL CASO DELLE TROIANE." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/320.
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La tesi si concentra sull'analisi interpretativa e sul confronto culturale tra diverse riprese di un dramma antico sulla scena moderna. L'opera classica scelta è Troiane nella versione euripidea, soggetta a una notevole ripresa d'interesse da parte di registi e drammaturghi nel XX e XXI secolo. Si è inteso concentrare l'attenzione sui più significativi spettacoli e drammaturgie contemporanei (quindi apparsi sulle scene mondiali e, in particolare, italiane del secondo dopoguerra) che tematizzino a diversi livelli la questione del disagio, della violenza e delle forme dell'esclusione e dell'esodo dovuti a uno scontro fra culture antagoniste. Volutamente, sono stati studiati spettacoli poco noti alla critica e al grande pubblico. Il metodo di lavoro seguito è stato adattato alle caratteristiche di ogni allestimento e alla particolarità delle fonti. Infine, ho fornito una valutazione critica della riuscita artistica degli spettacoli e ho confrontato le diverse traduzioni impiegate dai registi.The thesis deals with an interpretation and a cultural comparison among many different contemporary plays based on classic drama. In particular, I examined Trojan Women by Euripides, a tragedy that today is often present on the stage. The thesis presents an account on the most important present-day shows and writings from Italy and other countries about loneliness, violence and exile due to fights between different cultures. On purpose, I studied not generally known shows and plays. The study method has been adapted to every show features and to its evidences. Finally, I valued how and if a show succeeded and made a comparison among different translations of Euripides' trojan women.
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Goldstein, Elon. "Ethics and Religion in a Classic of Sanskrit Drama: Harṣa's Nāgānanda." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11099.
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Croft, Marie-Ange. "Edme Boursault : de la farce à la fable (1661-1701)." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100105/document.
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Entre la mort de Molière et l’avènement de Marivaux, le théâtre connaît de profondes modifications. S’inscrivant dans le sillage des travaux de François Moureau, Christian Biet et Guy Spielmann sur la dramaturgie fin de règne, cette thèse s’intéresse à la manière dont s’est effectué le passage de la comédie classique à la comédie fin de règne. En prenant l’exemple d’Edme Boursault (1638-1701), écrivain mineur du XVIIe siècle, elle entend mettre en lumière une double trajectoire, celle d’un genre et celle d’un auteur. L’étude repose sur l’hypothèse selon laquelle le corpus comique de Boursault, produit entre 1661 et 1701, conserve les marques des mutations esthétiques qui a mené au théâtre fin de règne. Il s’agit donc de comprendre les enjeux qui ont conduit à un renouvellement de l’écriture dramaturgique, mais aussi d’observer la manière dont pouvait se construire une carrière littéraire chez un écrivain mineur de la seconde moitié du XVIIe siècle. Depuis ses premières comédies et farces (Le médecin volant, Le Mort vivant, Le jaloux endormy) jusqu’à ses comédies moralisantes (Les Fables d’Esope, Esope à la Cour), Boursault a su s’adapter aux changements que connaissent la société française et le théâtre, et a mis en œuvre diverses stratégies, tant sociales que littéraires. Par le moyen de l’histoire littéraire, entre sociologie de la littérature, poétique des genres et théorie de la réception, la thèse se penche sur les réseaux de sociabilité de Boursault (salons précieux, cercles littéraires, mécénat) et analyse son théâtre comique, tout en tenant compte des conditions de représentation et de la réception du public. L’étude tend à démontrer que cette évolution dramaturgique s’est faite graduellement, souvent au prix d’une coexistence de deux esthétiques au sein d’une même œuvre. Cherchant à mesurer l’apport de Boursault à la comédie et au comique du XVIIe siècle, la thèse révèle que le passage du classicisme au fin de règne implique chez le dramaturge un changement de stratégie. Entre 1660 et 1700, l’auteur passe en effet d’une stratégie du cursus où ses tendances polygraphiques le placent, à une stratégie du succès misant sur l’innovation et l’originalité. Ce faisant, l’écrivain explore les limites d’un genre qu’il participe à redéfinir, tant sur le plan de la structure et des thématiques que sur celui des personnages et du comique. L’examen du passage de la farce classique à la comédie moralisante, celui du comique burlesque au rire jaune du XVIIIe siècle positionne donc indéniablement Boursault comme un écrivain de transition. Transition entre l’esthétique classique et l’esthétique fin de règne, on s’en doute, mais aussi, en parallèle, entre la poétique classique-fin de règne, et celle des LumièresEntre la mort de Molière et l’avènement de Marivaux, le théâtre connaît de profondes modifications. S’inscrivant dans le sillage des travaux de François Moureau, Christian Biet et Guy Spielmann sur la dramaturgie fin de règne, cette thèse s’intéresse à la manière dont s’est effectué le passage de la comédie classique à la comédie fin de règne. En prenant l’exemple d’Edme Boursault (1638-1701), écrivain mineur du XVIIe siècle, elle entend mettre en lumière une double trajectoire, celle d’un genre et celle d’un auteur. L’étude repose sur l’hypothèse selon laquelle le corpus comique de Boursault, produit entre 1661 et 1701, conserve les marques des mutations esthétiques qui a mené au théâtre fin de règne. Il s’agit donc de comprendre les enjeux qui ont conduit à un renouvellement de l’écriture dramaturgique, mais aussi d’observer la manière dont pouvait se construire une carrière littéraire chez un écrivain mineur de la seconde moitié du XVIIe siècle. Depuis ses premières comédies et farces (Le médecin volant, Le Mort vivant, Le jaloux endormy) jusqu’à ses comédies moralisantes (Les Fables d’Esope, Esope à la Cour), Boursault a su s’adapter aux changements que connaissent la société française et le théâtre, et a mis en œuvre diverses stratégies, tant sociales que littéraires. Par le moyen de l’histoire littéraire, entre sociologie de la littérature, poétique des genres et théorie de la réception, la thèse se penche sur les réseaux de sociabilité de Boursault (salons précieux, cercles littéraires, mécénat) et analyse son théâtre comique, tout en tenant compte des conditions de représentation et de la réception du public. L’étude tend à démontrer que cette évolution dramaturgique s’est faite graduellement, souvent au prix d’une coexistence de deux esthétiques au sein d’une même œuvre. Cherchant à mesurer l’apport de Boursault à la comédie et au comique du XVIIe siècle, la thèse révèle que le passage du classicisme au fin de règne implique chez le dramaturge un changement de stratégie. Entre 1660 et 1700, l’auteur passe en effet d’une stratégie du cursus où ses tendances polygraphiques le placent, à une stratégie du succès misant sur l’innovation et l’originalité. Ce faisant, l’écrivain explore les limites d’un genre qu’il participe à redéfinir, tant sur le plan de la structure et des thématiques que sur celui des personnages et du comique. L’examen du passage de la farce classique à la comédie moralisante, celui du comique burlesque au rire jaune du XVIIIe siècle positionne donc indéniablement Boursault comme un écrivain de transition. Transition entre l’esthétique classique et l’esthétique fin de règne, on s’en doute, mais aussi, en parallèle, entre la poétique classique-fin de règne, et celle des Lumières
Entre la mort de Molière et l’avènement de Marivaux, le théâtre connaît de profondes modifications. S’inscrivant dans le sillage des travaux de François Moureau, Christian Biet et Guy Spielmann sur la dramaturgie fin de règne, cette thèse s’intéresse à la manière dont s’est effectué le passage de la comédie classique à la comédie fin de règne. En prenant l’exemple d’Edme Boursault (1638-1701), écrivain mineur du XVIIe siècle, elle entend mettre en lumière une double trajectoire, celle d’un genre et celle d’un auteur. L’étude repose sur l’hypothèse selon laquelle le corpus comique de Boursault, produit entre 1661 et 1701, conserve les marques des mutations esthétiques qui a mené au théâtre fin de règne. Il s’agit donc de comprendre les enjeux qui ont conduit à un renouvellement de l’écriture dramaturgique, mais aussi d’observer la manière dont pouvait se construire une carrière littéraire chez un écrivain mineur de la seconde moitié du XVIIe siècle. Depuis ses premières comédies et farces (Le médecin volant, Le Mort vivant, Le jaloux endormy) jusqu’à ses comédies moralisantes (Les Fables d’Esope, Esope à la Cour), Boursault a su s’adapter aux changements que connaissent la société française et le théâtre, et a mis en œuvre diverses stratégies, tant sociales que littéraires. Par le moyen de l’histoire littéraire, entre sociologie de la littérature, poétique des genres et théorie de la réception, la thèse se penche sur les réseaux de sociabilité de Boursault (salons précieux, cercles littéraires, mécénat) et analyse son théâtre comique, tout en tenant compte des conditions de représentation et de la réception du public. L’étude tend à démontrer que cette évolution dramaturgique s’est faite graduellement, souvent au prix d’une coexistence de deux esthétiques au sein d’une même œuvre. Cherchant à mesurer l’apport de Boursault à la comédie et au comique du XVIIe siècle, la thèse révèle que le passage du classicisme au fin de règne implique chez le dramaturge un changement de stratégie. Entre 1660 et 1700, l’auteur passe en effet d’une stratégie du cursus où ses tendances polygraphiques le placent, à une stratégie du succès misant sur l’innovation et l’originalité. Ce faisant, l’écrivain explore les limites d’un genre qu’il participe à redéfinir, tant sur le plan de la structure et des thématiques que sur celui des personnages et du comique. L’examen du passage de la farce classique à la comédie moralisante, celui du comique burlesque au rire jaune du XVIIIe siècle positionne donc indéniablement Boursault comme un écrivain de transition. Transition entre l’esthétique classique et l’esthétique fin de règne, on s’en doute, mais aussi, en parallèle, entre la poétique classique-fin de règne, et celle des Lumières
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Gagnon, Julie E. "Masculinidades de moda : machos del Siglo de Oro." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84509.
Full textAbstract:
Among the diverse fabric of masculinities that prestigious authors such as Pedro Calderon de la Barca, Tirso de Molina and Agustin Moreto weave into their plots, fashion proves to be a common thread and a particularly useful tool. Thus, as I approach the idea of "Fashionable Masculinities" and investigate a few "macho" and/or not so "macho men" in Early Modern drama I hope to go beyond the traditional interpretations, stereotypes and icons often associated with men---in particular, Spanish men in Golden Age drama. This will be achieved by revisiting typical cases and compared through research and documentation of atypical representations of maleness that could be considered displacements and/or subversions of the social matrix. In effect, this study explores how the male ideal is shaped and judged both by the essence of his personality, as well as his physical appearance (i.e.: clothing, hairstyle, mannerisms, discourse and voice). As such, it becomes evident that masculinity is moulded, influenced, enhanced, exaggerated and even muted as it is subject to the whim of different fashions prevalent at a specific moment in time. Moreover, a multitude of social, cultural, racial and historical factors determine the always changing image of the so called "macho man".Therefore, in order to explore distinct representations of masculinity I approach three different comedias by three different playwrights while comparing how the main character's masculinity fared in three very important spaces: physical, social and sexual. I focus my attention on Saber del mal y del bien by Calderon. Secondly, Don Gil de las calzas verdes by Tirso and explored El lindo don Diego by Moreto. Each one the these represents a different degree of palatable male identities given this particular social construct.
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Lassaca, Aurelià. "L'oeuvre théâtrale de François de Cortète (1586-1667) . Edition critique." Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30018.
Full textAbstract:
Cette thèse de doctorat a pour objet l’édition critique, la traduction et l’analyse de l’oeuvre théâtrale complète de François de Cortète (1585-1667). Ce seigneur agenais a évolué dans l’entourage d’Adrien de Monluc, mécène et protecteur de nombreux auteurs de langue française et de langue occitane. Le théâtre de Cortète, partiellement édité après sa mort par ses fils, présente deux pastorales qui se distinguent par un certain « souci de réalité » dans la représentation des bergers mis en scène sur les terres dont il est le seigneur. La Miramondo explore les règles d’unités ; dans son Ramonnet Cortète reprend l’éthnotype comique du matamore gascon dont il inverse le sens du ridicule en dessinant un des premiers portraits de francimand de la littérature en langue occitane ; Sancho al palays del Duc est une comédie, qui sur le modèle de Guérin de Bouscal, adapte à la scène une dizaine de chapitres du second livre du Quichotte. A l’instar du poète toulousain Pierre Godolin en poésie, Cortète exploite et illustre les ressources de la langue d’oc en produisant une oeuvre théâtrale sur le modèle des créations contemporaines des élites européennes. Ses trois pièces reflètent la richesse et ladiversité de la production théâtrale en France entre les années 1630 et 1650 ainsi que les bouleversements qui la traversent. Cette édition, réalisée à partir des manuscrits autographes, se veut aussi fidèle que possible au texte tout en veillant à préserver sa lisibilité. Elle constitue aussi la première traduction française du théâtre de Cortète de Prades. Aucune indication de datation n’ayant été donnée par l’auteur sur la chronologie de la composition de ses pièces et la bibliographie critique étant extrêmement réduite, l’analyse donnée en introduction aborde les trois pièces de manièretransversale et tente de répondre à cette problématique chronologique tout en précisant et en explorant les principales questions qui définissent la singularité de cette oeuvreThis doctoral thesis comprises the critical edition, translation and analysis of the entire dramatic oeuvre of François de Cortète (1585-1667). This Agenais lord moved in the circles of Adrien de Monluc, patron and protector of numerous French and Occitan-language writers. Cortète’s plays, in part published posthumously by his sons, include two pastorals distinguished by a certain « concern for reality » in their representation of shepherds living on his seigneurial lands. LaMiramondo explores the three classical unities; in Ramonnet Cortète treats the comic ethnotype of the Gascon braggart (matamore), inverting its ridiculous characteristics by drawing one of the first portraits in Occitan literature of the francimand. A third play, Sancho al palays del Duc, a comedy in the style of Guérin de Bouscal, adapts for the stage a dozen chapters of the second book of Don Quixote. Following the example of the Toulouse poet Pierre Godolin, Cortète exploits the possibilities of the langue d’oc to produce dramatic works in the style of those of Europe’s elite contemporary playwrights. His three plays reflect the richness and diversity of the Theatre in France between 1630 and 1650, as well as the upheavals it lived through. This edition of the texts, based on the original manuscripts, tries to be as faithful as possible to them while preserving their readability. It also constitutes the first French translation of Cortète de Prades’ dramatic oeuvre. In the light of there being no indication of dating by the author of the chronology of composition of his plays and, moreover, thecritical bibliography being extremely small, the analysis undertaken in the introduction approaches the plays transversely and attempts to answer this chronological problem by specifying and exploring the major issues that define the uniqueness of this body of work
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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 textAbstract:
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.
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Mignacca, Oriana. "Fugienda petimus": la "Phaedra" di Seneca come sistema complesso di antitesi"." Doctoral thesis, Università degli studi di Trento, 2012. https://hdl.handle.net/11572/368452.
Full textAbstract:
Il progetto di tesi intrapreso in questi anni si inserisce nel solco dei fecondi studi sul teatro senecano e si concentra in special modo su un dramma: la Phaedra.
L'obiettivo dell'analisi messa in atto sulla tragedia è quello di porre in evidenza l'esistenza di un sistema di antitesi costruito su più livelli sia sotto il profilo formale che contenutistico, individuando in questo sistema una delle chiavi di lettura privilegiate del dramma.
La complessa impalcatura antitetica sulla quale l'opera si fonda risente in larga misura dei modelli e delle influenze che maggiormente agirono su Seneca nella costruzione e nelal scelta stessa di trattare il dramma di Fedra. Il modello greco dell'Ippolito Coronato e la stessa tradizione del conflitto tragico greco oltre ad offrire a Seneca un punto di partenza per costruire la vicenda, costituiscono altresì un interessante modello per quanto concerne la realizzazione di situazioni contrastive oltre che per l'elaborazione di personaggi, sia di natura divina che umana, completamente antitetici (basti pensare alla significativa opposizione fra Afrodite a Artemide).
Sul piano formale, ma non solo, ad influenzare in maniera massiccia l'operazione messa in atto dal Cordovese è sicuramente il modello della Controversia, largamente operante nella Roma del suo tempo. La tradizione del conflitto e l'abitudine a strutturare gli argomenti per antitesi rappresenta in effetti un importante portato della tradizione retorica che riguarda sia il piano dell'inventio che quello della dispositio oltre ad manifestare la sua influenza sull'aspetto più propriamente stilistico sino alle microstrutture delle sententiae antitetiche.
Benché la vasta critica senecana non abbia mancato di mettere in luce taluni elementi di antitesi presenti all'interno della Phaedra, la novità dell'analisi svolta consiste nell'inserire questi contrasti all'interno di un vero e propria sistema di antitesi. L'indagine trasversale svolta sulla tragedia ha infatti permesso di delineare una serie di ampli percorsi antitetici relativi ad alcuni temi fondanti del dramma stesso.
In maniera originale rispetto a quanto effettuato sinora dalla critica, le antitesi maggiori e, per così dire, costitutive, della Phaedra – l'opposizione fra le divinità di Diana e e Venere, le antitesi spaziali fra aula e silva e fra mare e terra e quella fra vita secondo o contro natura; il conflitto parentale, per citare solo alcuni dei contrasti affrontati – sono state trattate a fondo ed esaminate nel loro andamento nel corso dell'intera tragedia individuando gli sviluppi, i mutamenti, i ribaltamenti che avvengono al loro interno, tenendo sempre conto dei modelli latini più significativi e istituendo, ove ciò sia sia rivelato possibile, un proficuo confronto con il resto della drammaturgia senecana, senza mai trascurare il necessario richiamo al modello euripideo.
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Streeter, Joshua Aaron. "Greek Tragedy and Its American Choruses in Open Air Theaters from 1991 to 2014: The Cases of Gorilla Theatre Productions and The Classic Greek Theatre of Oregon." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu155534000939454.
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