Relevant bibliographies by topics / Greek drama (Tragedy) Art

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  1. Journal articles
  2. Dissertations / Theses
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Academic literature on the topic 'Greek drama (Tragedy) Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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

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Barnes, Daniel. "THE ART OF TRAGEDY." Think 10, no. 28 (2011): 41–51. http://dx.doi.org/10.1017/s1477175611000017.

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In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic
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Wiles, David. "Reading Greek Performance." Greece and Rome 34, no. 2 (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
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McConnell, Justine. "The Place of Greek Tragedy in African Drama." Journal of Southern African Studies 42, no. 1 (2016): 171–72. http://dx.doi.org/10.1080/03057070.2016.1126463.

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

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In this article, Christian M. Billing considers the relationship between representations of mythic narratives found on ancient pottery (primarily found at sites relating to the Greek colonies of south Italy in the fourth century BC, but also to certain vases found in Attica) and the tragic theatre of the fifth century BC. The author argues against the current resurgence in critical accounts that seek to connect such ceramics directly to performance of tragedies by the major tragedians: Aeschylus, Sophocles, and Euripides. Using five significant examples of what he considers to be errors of met
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek New Comedy." New Theatre Quarterly 20, no. 3 (2004): 245–64. http://dx.doi.org/10.1017/s0266464x04000144.

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Chris Vervain is a mask maker who has for a number of years trained and directed in performing masked drama. On the basis of research she has undertaken, using her own masks, on how to perform the ancient Greek plays, in this article she questions some of the modern orthodoxies of masked theatre, drawing specifically on her experience with Menander's New Comedy. With David Wiles, she contributed ‘The Masks of Greek Tragedy as Point of Departure for Modern Performance’ to NTQ 67 (August 2001) and, with Richard Williams, ‘Masks for Menander: Imaging and Imagining Greek Comedy’ to Digital Creativ
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Harrop, Stephe, and David Wiles. "Poetic Language and Corporeality in Translations of Greek Tragedy." New Theatre Quarterly 24, no. 1 (2008): 51–64. http://dx.doi.org/10.1017/s0266464x08000055.

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The translation of ancient tragedy is often considered at a linguistic level, as if the drama consisted simply of words being written, spoken, and heard. This article contends that translation for the stage is a process in which literary decisions have physical, as well as verbal, outcomes. It traces existing formulations concerning the links between vocal and bodily expression, and explores the ways in which printed texts might be capable of suggesting modes of corporeality or systems of movement to the embodied performer; and sketches some of the ways in which the range of possible relations
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Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (1992): 5–22. http://dx.doi.org/10.1017/s0040557400009571.

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This paper has two principal, though interrelated, objectives: to survey issues concerning the status of the texts of Greek Tragedy, particularly with respect to specific distinctions between a play as text-based and as audience experienced, between the “eye” of the reader of a play text and the eye of the theatrical spectator; and to consider some implications of these distinctions for Euripidean drama, above all with respect to The Bacchae, since its procedures, albeit more developed or extravagant than elsewhere, may be construed as characteristic for this drama. Much of what I shall say ha
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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (2006): 239–44. http://dx.doi.org/10.1017/s0040557406000214.

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Any discussion of ancient Greek and Roman drama on the contemporary stage must begin with a brief acknowledgment of both the radically increased worldwide interest in translating, (often radically) revising, and performing these plays in the past thirty-five years and the growing scholarly response to that development. Electronic resources are developing to record not only recent but many more past performances, from the Renaissance to the present.1 A group of scholars at the Archive of Performances of Greek and Roman Drama at Oxford—Edith Hall, Fiona Macintosh, Oliver Taplin, and their associ
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Nooter, Sarah H. "The Politics of Adaptation: Contemporary African Drama and Greek Tragedy by Astrid van Weyenberg." ariel: A Review of International English Literature 46, no. 3 (2015): 199–201. http://dx.doi.org/10.1353/ari.2015.0023.

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Nervegna, Sebastiana. "SOSITHEUS AND HIS ‘NEW’ SATYR PLAY." Classical Quarterly 69, no. 1 (2019): 202–13. http://dx.doi.org/10.1017/s0009838819000569.

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Active in Alexandria during the second half of the third century, Dioscorides is the author of some forty epigrams preserved in the Anthologia Palatina. Five of these epigrams are concerned with Greek playwrights: three dramatists of the archaic and classical periods, Thespis, Aeschylus and Sophocles, and two contemporary ones, Sositheus and Machon. Dioscorides conceived four epigrams as two pairs (Thespis and Aeschylus, Sophocles and Sositheus) clearly marked by verbal connections, and celebrates each playwright for his original contribution to the history of Greek drama. Thespis boasts to ha
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Dissertations / Theses on the topic "Greek drama (Tragedy) Art"

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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, pro
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Bees, Robert. "Zur Datierung des Prometheus Desmotes." Stuttgart : B. G. Teubner, 1993. http://catalogue.bnf.fr/ark:/12148/cb37096291b.

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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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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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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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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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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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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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Books on the topic "Greek drama (Tragedy) Art"

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The living art of Greek tragedy. Indiana University Press, 2003.

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Christian, Meier. The political art of Greek tragedy. Polity Press, 1993.

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Christian, Meier. The political art of Greek tragedy. Johns Hopkins University Press, 1993.

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From Homer to tragedy: The art of allusion in Greek poetry. Routledge, 1990.

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Herington, C. J. Poetry into drama: Early tragedy and the Greek poetic tradition. University of California Press, 1985.

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Poetry in drama: Early tragedy and the Greek poetic tradition. University of California Press, 1985.

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Knoepfler, Denis. Les imagiers de l'Orestie: Mille ans d'art antique autour d'un mythe grec / Denis Knoepfler ; avant-propos de Jean-Pierre Jelmini. Akanthus, 1993.

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L'art, ou, La plasticité de l'esprit. Ellipses, 2008.

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The art of Euripides: Dramatic technique and social context. Cambridge University Press, 2010.

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Pots & plays: Interactions between tragedy and Greek vase-painting of the fourth century B.C. J. Paul Getty Museum, 2007.

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

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MacKinnon, Kenneth. "Filmed Tragedy." In A Handbook to the Reception of Greek Drama. 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. John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch5.

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Wetmore, Kevin J. "The Reception of Greek Tragedy in Japan." In A Handbook to the Reception of Greek Drama. 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. 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. 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. Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400866984-014.

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Griffiths, Emma M. "Potential." In Children in Greek Tragedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198826071.003.0003.

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This chapter proposes a new paradigm for understanding children, combining ancient and modern ideas about potential. Aristotle developed a complex idea of action and potential which can be aligned with his other comments about children. Extending this argument, we can see that modern theory linked to quantum mechanics suggests a mechanism by which the silent, passive child figures of tragedy have a paradoxically significant role in drama. Children are framed in temporal and socio-historical settings. Then the theatrical and philosophical issues are considered. The chapter concludes by examining imagery used in tragedy, and suggests that analogies from quantum physics may be useful to explain the peculiar strength of child roles. A parallel is drawn with ancient theatrical ghosts.
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Griffiths, Emma M. "Staging Issues." In Children in Greek Tragedy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198826071.003.0002.

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This chapter examines the arguments for the use of child actors on the fifth-century Athenian stage, and concludes that textual evidence indicates that children were indeed used in the original productions. The embodied identity of children is central to their role in drama, as the identities of ‘child actor’ and ‘child character’ are more closely aligned than the identities of adult actor/character. Once the presence of children onstage is established, the chapter proceeds to evaluate questions such as the use of masks and the use of dolls. The use of child speech and song is discussed in relation to socio-historical contexts, concluding that children have more of a prominent role than we would expect.
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Meister, Felix J. "Divine Power in Tragedy." In Greek Praise Poetry and the Rhetoric of Divinity. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0004.

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This chapter pursues comparisons between characters of Greek drama with the gods on the grounds of power. The first part examines such comparisons in the context of supplication in tragedy, and similar contexts in comedy, where suppliants perceive saviour figures as more than mortal. Since these passages are determined by their ritual context, they shed further light on the argument, formulated in the preceding chapters of this book, that individual rituals themselves shape our perceptions of those involved. The second part of this chapter analyses similar visions found outside of established ritual contexts. Here, comparisons with the gods convey a sense of danger and impending catastrophe. The differences between the two kinds of comparison, especially with regard to their effect, highlights the importance of ritual as a mitigating factor in elevating humans.
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Holton, David. "The Tragic, the Comic and the Tragicomic in Cretan Renaissance Literature." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0021.

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Greek tragedy and comedy re-emerge in late sixteenth-century Crete, now based on Renaissance neo-classical prescriptions. Besides ‘pure’ examples of the genres we also find a tragedia di lieto fine (the biblical drama Abraham’s Sacrifice) and a pastoral idyll with a tragic outcome (The Shepherdess), while Kornaros’ verse romance Erotokritos plays with the possibility of a tragic ending before settling for the outcome proper to romance. This intermingling of the tragic and the comic – of tears and laughter – is common in Cretan Renaissance literature, and most fully realised in the new hybrid genre of tragicommedia pastorale, which seems to have been popular in Crete around 1600. Taking Panoria by Georgios Chortatsis as its main textual focus, this chapter explores the interaction of tears and laughter both at a textual level and in plot structure. While the theoretical bases of tragicomedy, as propounded by Guarini, clearly underpin works like Panoria, in the case of works belonging to other genres other factors are involved: Petrarchising tropes, which are common in Cretan literature, and the antithetical structures characteristic of the folk tradition. Panoria, set on Mount Ida, is thoroughly Cretan and at the same time thoroughly imbued with late-Renaissance poetics.
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