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Relevant bibliographies by topics / Greek drama (Tragedy)

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Academic literature on the topic 'Greek drama (Tragedy)'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Greek drama (Tragedy)"

1

Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (March 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.

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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.

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Näsström, Britt-Mari. "The rites in the mysteries of Dionysus: the birth of the drama." Scripta Instituti Donneriani Aboensis 18 (January 1, 2003): 139–48. http://dx.doi.org/10.30674/scripta.67288.

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The Greek drama can be apprehended as an extended ritual, originating in the ceremonies of the Dionysus cult. In particular, tragedy derived its origin from the sacrifice of goats and the hymns which were sung on that occasion. Tragedia means "song of the male goat" and these hymns later developed into choruses and eventually into tragedy, in the sense of a solemn and purifying drama. The presence of the god Dionysus is evident in the history and development of the Greek drama at the beginning of the fifth century B.C. and its sudden decline 150 years later. Its rise seems to correspond with the Greek polis, where questions of justice and divine law in conflict with the individual were obviously a matter of discussion and where the drama had individual and collective catharsis (purifying) in mind.

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Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (April 19, 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 and struggle – as agonistic spatial practice. This historical model is then applied to a recent case study, Aeschylus’ The Suppliant Women as co-produced by Actors Touring Company and the Lyceum, Edinburgh, in 2016–17, proposing that the frictious effects, encounters, and confrontations generated by this production (re-staged and re-articulated across multiple venues and contexts) exemplify some of the potentials of agonistic spatial practice in contemporary re-performance of Greek tragedy. It is contended that re-imagining tragic theatre, both ancient and modern, as (in Chantal Mouffe's terms) ‘agonistic public space’ represents an important new approach to interpreting and creatively re-imagining, interactions between Athenian tragedy and democratic politics. Stephe Harrop is a Lecturer in Drama at Liverpool Hope University, where her research focuses primarily on performances and texts adapted from, or responding to, ancient tragedy and epic. She is co-author of Greek Tragedy and the Contemporary Actor (Palgrave Macmillan, forthcoming).

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Mostafalou, Abouzar, and Hossein Moradi. "Baroque Trauerspiel in William Shakespeare’s Hamlet: A Rejection of Aristotelian Tragedy." Journal of Language Teaching and Research 8, no. 1 (January 1, 2017): 184. http://dx.doi.org/10.17507/jltr.0801.23.

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Tragedy, as a literary genre and a high form of literature, deals with lives of noble people. This type of drama is rooted in Aristotle’s formulation which later has resulted into theory of drama known as Freytag's Pyramid. This model of drama which follows Greek version of tragedy has some common features including unity of time, place, and action. Moreover, the elements of death, language, and melancholy have been treated in the conventional ways in the genre f tragedy. However, Walter Benjamin, the German philosopher and critic has opposed to the dominance of tragedy, and developed an independent genre called Trauer Trauerspiel in which ordinary people get to be the center of the play. Unlike tragedy which is based on myth, Trauer Trauerspiel is based on history that depicts the reality of life. Moreover, this genre has the trace of postmodern literature in which language has no meaning; death is treated in non-religious way, and melancholy is no longer considered to be a mental disease. By the same token, it could be claimed that Shakespeare’s Hamlet, as a dominant form of tragedy, can no longer be considered as tragedy; since it repulses conventions of tragedy and Freytag's Pyramid, it belongs to a new genre, Trauer Trauerspiel in which Greek dramas’ features can be dethroned and replaced by postmodern aspects of drama.

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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (June 15, 2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages of the film-opera. The screen adaptation of opera is very actual and has special aspects. It is obvious, that opera enriches cinema language and cinema reforms traditional theatrical musical drama. There is a number of works, which are devoted to the problem of the opera- film (mostly written by music experts), but there are no special research on the part of cinema theoreticians. Cinema-opera differs from theater-opera. Cooperation between image and music is defined by specific features of the camera. The opportunities of cinema are wider in some aspects and may advance reform of stage. Integration of arts in opera-film is connected with integration of arts in the Greek tragedy. The Athenian drama, grown up from ancient cults, is connected with ancient rituals. Since the ancient sources of drama find their reflection in film-opera, the latter reaches out these cults.

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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 (July 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 ancient Greek tragedy. This haunting speaks to the anti-chronological way in which reception of this kind might have worked, with audiences’ first encounters with Greek tragedy as such being shaped by the receptions of Greek tragedy they had already witnessed in original Latin plays such as this.

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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.

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Wiles, David. "Reading Greek Performance." Greece and Rome 34, no. 2 (October 1987): 136–51. http://dx.doi.org/10.1017/s0017383500028096.

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Simon Goldhill's Reading Greek Tragedy is a welcome publication – not for its originality but because it makes available an important and eclectic body of critical approaches to Greek texts. Goldhill gives no quarter to the idea that the Greekless reader cannot deal with complex theoretical arguments. The (post-)structuralist revolution in modern thought, associated with Derrida, Foucault, and above all Barthes, mediated for the most part through classical scholars such as J-P. Vernant, Froma Zeitlin, and Charles Segal, has here found its way into a book targeted at the undergraduate market. I welcome Goldhill's book as one which demonstrates, without mystification, both the complexity of Greek tragedy, and the contemporary relevance of the questions which Greek tragedy poses. At the same time, as one who teaches students of Drama, I cannot but feel frustration.

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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek Tragedy." New Theatre Quarterly 28, no. 2 (May 2012): 163–81. http://dx.doi.org/10.1017/s0266464x12000255.

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Chris Vervain is a mask maker who has for a number of years directed masked Greek drama. On the basis of the research she has undertaken using her own masks, in this article she considers some of the practical issues involved in a masked staging of the plays today, drawing specifically on her experience of directing the Bacchae and the Antigone. Here she extends the discussion started previously in ‘Performing Ancient Drama in Mask: the Case of Greek New Comedy’ in NTQ 79 (August 2004). Earlier, with David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001). In 2008 she completed a doctorate on masks in Greek tragedy at Royal Holloway, University of London.

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김동욱. "The Tragic Vision in Greek Tragedy, Shakespearean Tragedy and Noh Drama." Shakespeare Review 46, no. 2 (June 2010): 385–411. http://dx.doi.org/10.17009/shakes.2010.46.2.009.

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Dissertations / Theses on the topic "Greek drama (Tragedy)"

1

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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Geller, Grace. "Translations and adaptations of Euripides' Trojan Women /." Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15122.

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Bardel, Ruth. "Casting shadows on the Greek stage : the stage ghost in Greek tragedy." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323009.

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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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Kavoulaki, Athena. "Pompai : processions in Athenian tragedy." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94049c7e-b93b-4d8a-a7e4-5e7d82adc7d1.

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This thesis investigates the significance of ritual movements in theatre and society of fifth-century Athens. The focus falls on processional movement, the definitive characteristics of which are drawn from the ancient Greek concept of pompe, i.e. a movement towards a defined destination, involving the conveyance of a ritual symbol (or an object or a person) between specific points of departure and arrival. The social contexts of divine and heroic cult, funerals and weddings prove to be the main occasions for the performance of such processional movements. In the world outside the theatre, processions are shown to be crucial in defining transitions, shaping social relations, and manifesting the action and inviting the attention of the divine. The socio-religious significance of processions is fully appropriated and explored by tragedy. Processional action, recurrently evoked in the tragic plays, proves to be crucial for the articulation of the tragic δρώμενα. This is argued in the collection and analysis of a number of scenes from extant fifth-century tragedy in which processional resonances permeate the action. The interpretation of the scenes in the light of the ritual background which shapes them considerably enhances the understanding and appreciation of the plays as theatrical experience - experience which explores the potential of spatial configurations and visual symbolism, in a context of symbolic communication which is largely defined by participation in the rituals of the community. The thesis argues that the importance of processions in the theatre is inextricably connected with their power - as manifested in the ritual life of the polis - to gather the community and to initiate the process of θεάσασθαι, implicating both active participants and θεαταί in the performed action. Greek tragic theatre builds upon this basic function of processions and activates their power. Thus it also combines their potential to define transitions with the significance of tragic μετάβασις; and with the importance of demarcation of space and transformation of time in the theatre. Ritual experience is activated, reshaped and enlarged, enabling the re-creation and transformation of the experience of the audience. Processions can illuminate the nature of tragedy itself.

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Griffiths, Emma Marie. "Trailing clouds of glory : a study of child figures in Greek tragedy." Thesis, University of Bristol, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286028.

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7

Wang, Zhi-Zhong. "UNDER ATHENIAN EYES: A FOUCAULDIAN ANALYSIS OF ATHENIAN IDENTITY IN GREEK TRAGEDY." Oxford, Ohio : Miami University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1050628367.

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Ahern, John N. "Conscience, the Other and the moral community: a study in meta-ethics and tragedy /." Burnaby B.C. : Simon Fraser University, 2006. http://ir.lib.sfu.ca/handle/1892/2676.

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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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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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Books on the topic "Greek drama (Tragedy)"

1

Shomit, Dutta, ed. Greek tragedy. London: Penguin, 2004.

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DUTTA, SHOMIT, ed. GREEK TRAGEDY. LONDON: PENGUIN BOOKS, 2004.

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3

Herington, C. J., and Thomas Gould. Greek tragedy. Cambridge: Cambridge University Press, 2009.

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Garland, Robert. Surviving Greek tragedy. London: Duckworth, 2004.

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Aeschylus, Euripides, and Sophocles, eds. Classic Greek drama. Avenel, NJ: Gramercy Books, 1996.

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6

Baldock, Marion. Greek tragedy: An introduction. Bristol: Bristol Classical Press, 1989.

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1927-, Corrigan Robert Willoughby, ed. Classical tragedy: Greek and Roman. New York : N.Y: Applause Theatre Books, 1990.

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Kenneth, MacKinnon. Greek tragedy into film. London: Croom Helm, 1986.

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1975-, Henry W. Benjamin, ed. Collected papers on Greek tragedy. Leiden: Brill, 2010.

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10

Goldhill, Simon. How to stage Greek tragedy today. Chicago, IL: University of Chicago Press, 2007.

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Book chapters on the topic "Greek drama (Tragedy)"

1

MacKinnon, Kenneth. "Filmed Tragedy." In A Handbook to the Reception of Greek Drama, 486–505. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch25.

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Manuwald, Gesine. "Roman Tragedy." In A Handbook to the Reception of Greek Drama, 78–93. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch5.

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Harrop, Stephe. "Greek Tragedy in the Drama Studio." In Greek Tragedy, Education, and Theatre Practices in the UK Classics Ecology, 57–69. London: Routledge, 2024. http://dx.doi.org/10.4324/b22844-7.

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Raphael, D. D. "The Philosopher as Dramatist—Plato and the Greek Drama." In The Paradox of Tragedy, 71–89. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003262787-5.

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Wetmore, Kevin J. "The Reception of Greek Tragedy in Japan." In A Handbook to the Reception of Greek Drama, 382–96. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch20.

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Bushnell, Rebecca. "Time, Choice, and Consequences in Greek and Shakespearean Tragedy." In Tragic Time in Drama, Film, and Videogames, 1–22. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-58526-4_1.

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Revermann, Martin. "The Reception of Greek Tragedy from 500 to 323 BC." In A Handbook to the Reception of Greek Drama, 11–28. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch1.

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Fuhrmann, Manfred. "Myth as a Recurrent Theme in Greek Tragedy and Twentieth-Century Drama." In New Perspectives in German Literary Criticism: A Collection of Essays, 295–319. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400866984-014.

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"Greek Tragedy." In A Guide to Ancient Greek Drama, 72–155. Oxford, UK: Blackwell Publishing Ltd, 2008. http://dx.doi.org/10.1002/9780470776209.ch2.

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"The drama of logos." In Reading Greek Tragedy, 1–32. Cambridge University Press, 1986. http://dx.doi.org/10.1017/cbo9780511627354.002.

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