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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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Boyle, A. J. "Senecan Tragedy: Twelve Propositions." Ramus 16, no. 1-2 (1987): 78–101. http://dx.doi.org/10.1017/s0048671x0000326x.
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I begin by stating what Senecan tragedy is not. Senecan tragedy is not a series of declamations cast into dramatic form, as Leo claimed. It is not purely verbal drama divorced from the inner psychological realities of character, as Eliot claimed. It is not character-static drama, incohesive, structureless, lifeless and monotonously versified, as Mackail and others have claimed. It is not Stoic propaganda, as Marti claimed. It is not recitation drama, if by recitation drama is meant drama to be recited by a single speaker and essentially unstageable, as Zwierlein claims. It is not a tissue of hackneyed commonplaces, as Ogilvie claimed, nor an artificial imitation of Greek tragedy, as Beare claimed; nor is it contemptible as literature, as Summers and most nineteenth and early twentieth century critics have claimed.What is Senecan tragedy? This essay presents twelve propositions, each of which isolates a characterising property of Senecan tragedy important for the understanding of it as literary and cultural artefact. These twelve propositions constitute neither an exhaustive list of such properties nor an analysis of genre. The latter question, however, I leave not to contemporary theory, but to the Codex Etruscus and the Elizabethans.
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McConnell, Justine. "The Place of Greek Tragedy in African Drama." Journal of Southern African Studies 42, no. 1 (January 2, 2016): 171–72. http://dx.doi.org/10.1080/03057070.2016.1126463.
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Carter, D. M. "The demos in Greek tragedy." Cambridge Classical Journal 56 (2010): 47–94. http://dx.doi.org/10.1017/s1750270500000282.
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This paper looks at a relatively neglected character in Greek tragedy: the people. I cannot claim to produce a complete survey of this issue; however, I shall identify some different ways in which a tragic poet could portray a city's population, and discuss some examples.This is an important and interesting topic for two reasons, which are linked throughout, for behind my argument is the contention that a consideration of the original staging of a tragedy can help us to understand its politics. In the first place, it is instructive to ask how a poet could meet the challenge of representing the population of a city on stage; in the second, this exercise is likely to shed light on the political function of Greek tragedy. More specifically, it will shed light on the relationship between tragedy and democracy - a vexed question in recent years - for no consideration of democracy in drama can neglect the role of democracy's central player.
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Roselli, D. K. "The Work of Tragic Productions: Towards a New History of Drama as Labour Culture." Ramus 42, no. 1-2 (2013): 104–21. http://dx.doi.org/10.1017/s0048671x00000096.
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The study of the ancient world has often come under scrutiny for its questionable ‘relevance’ to modern society, but Greek tragedy has proven rather resilient. From tragedy's perceived value in articulating an incomplete but idealised state of political and ethical being in Hegel to its role in thinking through the modern construction of politics and gender (often through a re-reading of Hegel), tragedy has loomed large in modern critical inquiry into definitions of the political and the formation of the subject.’ This is another way of saying that the richly textured tragic text has in some respects laid the foundation for subsequent theorising of the political subject.Given the importance placed on such figures as Sophocles’ Oedipus and Antigone starting with Schelling and Hegel, it is perhaps not surprising that recent work in critical theory has tended to recast these particular tragic figures in its critique of Enlightenment thought. Nonetheless, there are problems with the adoption of these figures as paradigms through which tragedy becomes a tool to represent the ancient Greek polis and to work through modern political and ethical problems. The repeated returns to certain aspects of Oedipus or Antigone have contributed to a structured silence around the issue of class relations. Along with the increasingly dominant role of neoliberalism and the continuing importance of identity politics, much recent critical theory has contributed to the occlusion of class and labour from public discourse and academic research. In such a climate, it is no wonder that historical materialism rarely figures in academic works. I wonder whether another narrative is possible through the study of Greek tragedy.
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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek New Comedy." New Theatre Quarterly 20, no. 3 (August 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 Creativity, X, No. 3 (1999). Some of her masks can be seen at www.chrisvervain.btinternet.com. She is currently working towards a doctorate on masks in Greek tragedy at Royal Holloway, University of London.
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Konstan, David. "What we must Believe in Greek Tragedy." Ramus 28, no. 2 (1999): 75–88. http://dx.doi.org/10.1017/s0048671x00001727.
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All drama, indeed all literature, shows people acting on the basis of beliefs and values. We take those values for granted when we watch a play, and observe how the characters negotiate their way within the world as it appears to them. I wish to call attention to some underlying moral and psychological assumptions to which we implicitly assent as a condition for appreciating the story in a couple of Greek tragedies. For sometimes those assumptions are just what the play is really getting across.
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Čiripová, Dáša. "Greek Drama in the Hellenistic Period." Slovenske divadlo /The Slovak Theatre 65, no. 4 (December 1, 2017): 373–82. http://dx.doi.org/10.1515/sd-2017-0022.
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Abstract This study deals with a period of the Greeco-Roman history related to theatre. Hellenism is a period which is often overlooked by theatre scholars although it is an immensely important and rich transformatory and revolutionary period from a historical point of view. Hellenism is not only marked with the encounter of two worlds, but also with their mutual enrichment. In the world of diverse peoples, theatre and drama turn to lighter themes (comedy is more popular than tragedy), show preference for entertaining theatre forms, gradually divert their attention from serious textual levels and turn to non-verbal genres. Menandros is a typical representative of Hellenistic drama. Unfortunately, a great number of texts and files, which would contain at least mentions of drama production at that time, have been lost.
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Harrop, Stephe, and David Wiles. "Poetic Language and Corporeality in Translations of Greek Tragedy." New Theatre Quarterly 24, no. 1 (January 30, 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 relationships between language and physicality might be explored and understood, drawing upon recent practice-based research into the work of three modern poetic translators of Greek tragedy. Stephe Harrop is a theatre practitioner and academic whose work explores the links between text and physical performance. She originally trained as a dancer, and currently teaches at Royal Holloway, University of London. David Wiles is Professor of Theatre at Royal Holloway. His research interests include Greek theatre, masked performance, and drama in translation. His most recent publications include A Short History of Western Performance Space (2003) and Mask and Performance in Greek Tragedy (2007).
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Lempert, Manya. "Climate Tragedy." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (April 2021): 195–213. http://dx.doi.org/10.1017/pli.2020.39.
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I hypothesize that tragedy is the genre best suited to represent climate catastrophe. Tragedy, I contend, is committed to diagnosing the ideological and material conditions that make for mass, undeserved suffering—conditions of colonization and racialization, for instance, in Greek and modern drama and in modern tragic fiction. Not only does tragedy reveal injurious forms of power, it stages or incites rebellious collective action against them. These features of literary tragedy, I suggest, are non-Aristotelian. Aristotle lodges the source of crisis in individuals, who inadvertently cause their own misfortunes and suffer from them. The literary tragedy that I theorize, however, locates the origins of communal suffering in external agents of death and domination.
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Suthren, Carla. "Translating Commonplace Marks in Gascoigne and Kinwelmersh's Jocasta." Translation and Literature 29, no. 1 (March 2020): 59–84. http://dx.doi.org/10.3366/tal.2020.0409.
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This essay locates the moment at which commonplace marks were ‘translated’ from printed classical texts into English vernacular drama in a manuscript of Gascoigne and Kinwelmersh's Jocasta, dated 1568. Based on a survey of the use of printed commonplace marks in classical drama between 1500 and 1568, it demonstrates that this typographical symbol was strongly associated with Greek tragedy, particularly Sophocles and Euripides, and hardly at all with Seneca. In light of this, it argues that the commonplace marks in the Jocasta manuscript should be read as a deliberate visual gesture towards Euripides. In this period, commonplace marks evoked printed Greek rather than Latin tragedy, and early modern readers might bring such associations to the English dramatic texts in which these marks also appeared, including the First Quarto of Hamlet (1603).
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MAGOULIAS, Harry J. "Andronikos I Komnenos: A Greek Tragedy." BYZANTINA SYMMEIKTA 21, no. 1 (December 23, 2011): 101. http://dx.doi.org/10.12681/byzsym.1032.
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<span style="line-height: 150%; font-family: 'Times New Roman','serif'; color: black; font-size: 12pt">The Annals of Niketas Choniates depict Emperor Andronikos I Komnenos (1183-1185) in certain aspects of his lifestyle as a mirror image of his first cousin, Emperor Manuel I Komnenos (1143-1180). The life and death of Andronikos I Komnenos provide us with a window into the aesthetic, moral, intellectual, religious, economic and emotional world of Byzantine society in the 12th century. It was thanks to the Byzantine empire that the ancient texts were preserved and transmitted. Ancient Greek culture and reason, in particular, continued to inform Christian values while, at the same time, both could be in radical conflict. The tragic reign of Andronikos as presented by Niketas Choniates conforms to Aristotle's principles of classical drama, but there is a fundamental disagreement between the author of the Poetics and the historian as to what constitutes tragedy, which underlines this conflict.</span>
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Fitch, John, and Siobhan McElduff. "CONSTRUCTION OF THE SELF IN SENECAN DRAMA." Mnemosyne 55, no. 1 (2002): 18–40. http://dx.doi.org/10.1163/156852502753776939.
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The characters of Senecan tragedy are more inward-looking than those of Greek tragedy. One aspect of their inwardness lies in their fierce attempts to define and assert identities for themselves, through their names, actions, family history, mythical precedents, social roles etc. These self-assertions are driven by desire in many forms, chiefly desire for recognition by others, and are closely connected with the tragic outcomes of the dramas. One section of the article is devoted to Oedipus, who insists on identifying with his guilty deeds despite his innocence of intention; another to Phaedra, who has multiple versions of herself and cannot choose between them.
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Mikalson, Jon D. "Unanswered prayers in Greek Tragedy." Journal of Hellenic Studies 109 (November 1989): 81–98. http://dx.doi.org/10.2307/632034.
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Moments before Euripides' Polyneices and Eteocles square off for their final, fatal battle in the Phoenissae, each prays for divine assistance (1359–76). Their prayers, though very brief, are by the standards of Greek drama rather formal. Polyneices, as Theban as his brother Eteocles, is leading a force of Argives against Thebes to recover the kingship he claims is rightfully his. As he prays he looks toward distant Argos and invokes ‘Lady Hera’, for, he says, ‘I am now yours, because I married Adrastus’ daughter and dwell in his land' (1364–6). He has left his homeland, married into an Argive family, and now lives in Argos, and he must therefore appeal to an Argive deity. Hera is here made a doubly appropriate recipient of his prayer—by locality as patroness of the Argolid and by function as protectress of marriage, her two major roles in the religion of Greek life and tragedy. Eteocles, commanding the home forces against invaders, looks to the nearby temple of ‘Pallas of the golden shield’. He invokes her as the ‘daughter of Zeus’ and, like Polyneices but less explicitly, explains why he appeals specifically to her. He wishes to kill ‘the man who has come to sack my fatherland’ (1372–6). This Athena ‘of the golden shield’ is patroness of Thebes and, in more general terms, a goddess who aids the city in defence against foreign invaders. Like Hera she is doubly appropriate, in terms of locale and function, to her worshipper's needs.
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Kramer, Maxwell James. "Ezekiel’s Exagoge and the drama of intertextuality." Journal for the Study of the Pseudepigrapha 32, no. 2 (December 2022): 147–66. http://dx.doi.org/10.1177/09518207221124499.
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Ezekiel’s Exagoge is unusual as a Greek tragedy not only because it draws on Biblical rather than mythological subject matter but also because it makes such extensive use of an external source for much of its text: the Septuagint. Although the general concept of a Greek tragedy on a Jewish subject has drawn the attention of many scholars, the literary function of the Exagoge’s close relationship with the LXX text remains comparatively unexplored. In this article, I examine in detail several passages which connect the texts. These reveal that Ezekiel’s use of text from the Septuagint is not a symptom of a lack of poetic ingenuity but rather a deliberate literary choice. The intertextual links engage the audience intellectually by encouraging them to consider the ways in which Ezekiel receives, interprets, and occasionally departs from the Biblical text and its associated exegetical traditions. A comparison of Ezekiel’s poetry with that of the Greek poet Callimachus shows that Ezekiel’s engagement with scholarly, interpretational, and literary questions through the medium of poetry reflects the techniques and interests of the so-called Hellenistic poets, the sophisticated non-Jewish writers of his own age.
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Fitzgerald, Gerald. "Textual Practices and Euripidean Productions." Theatre Survey 33, no. 1 (May 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 has reference also to the other—Aeschylean, Sophoclean—texts that we have of Greek Tragedy. But it is with Euripides that the terms of the relationship of text and play are most explicit, and controversial, and, it seems to me, most dislocated. We have “read’ Euripides sometimes very wrongly because we have been reading Euripidean texts.
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Perris, Simon. "Our Saviour Dionysos: Humanism and Theology in Gilbert Murray's Bakkhai." Translation and Literature 21, no. 1 (March 2012): 21–42. http://dx.doi.org/10.3366/tal.2012.0045.
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This article analyses the 1902 translation of Euripides’ Bakkhai by the renowned scholar, internationalist, and popularizer of Greek drama, Gilbert Murray. In particular, Murray's syncretistic use of religious diction in the translation is contrasted with his secular humanist reading of the play: throughout the translation, pagan, Olympian polytheism is described in Christian terminology. I conclude that this apparent contradiction reflects the early twentieth-century literary-historical context in which Murray operated, and his own idiosyncratic, ritualist reading of the play and of Greek tragedy in general. Murray interpreted Bakkhai as a ‘secular mystery play’ in celebration of humanism, but he lacked the poetic resources to express this in verse without recourse to Christian phraseology. Within Murray's overall project of popularizing Greek drama, this translation stands as a significant, influential experiment in post-Victorian secular-mystical verse drama.
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Foley, Helene. "Classics and Contemporary Theatre." Theatre Survey 47, no. 2 (September 12, 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 associates Pantelis Michelakis and Amanda Wrigley—are at the forefront, along with Lorna Hardwick and her associates at the U.K.'s Open University, in organizing conferences and lecture series; these have already resulted in several volumes that aim to understand the recent explosion of performances as well as to develop a more extensive picture of earlier reception of Greek and Roman drama (above all, Greek tragedy, to which this essay will be largely confined).2 These scholars, along with others, have also tried to confront conceptual issues involved in the theatrical reception of classical texts.3 Most earlier work has confined itself to studies of individual performances and adaptations or to significant directors and playwrights; an important and exemplary exception is Hall and Macintosh's recent Greek Tragedy and British Theatre 1660–1914.4 This massive study profits from an unusually advantageous set of archival materials preserved in part due to official efforts to censor works presented on the British stage. Oedipus Rex, for example, was not licensed for a professional production until 1910 due to its scandalous incest theme. This study makes a particular effort to locate performances in their social and historical contexts, a goal shared by other recent studies of postcolonial reception discussed below.5 For example, British Medeas, which repeatedly responded to controversies over the legal and political status of women, always represented the heroine's choice to kill her children as forced on her from the outside rather than as an autonomous choice. Such connections between the performance of Greek tragedy and historical feminism have proved significant in many later contexts worldwide. Work on the aesthetic side of performances of Greek drama, including translation, is at an earlier stage, but has begun to take advantage of important recent work on ancient staging, acting, and performance space.6
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Casali, Giovanna. "Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)." Classical Receptions Journal 16, no. 1 (January 1, 2024): 73–90. http://dx.doi.org/10.1093/crj/clad027.
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Abstract This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festival, run by an entirely Fascist committee, had taken on a nationalistic character, and music was integral to this. Indeed, during these years (1930–39), music acquired a pivotal role in emphasizing the heroic instances of ancient drama that had become functional to the Regime’s policy. Moreover, it was considered indispensable for this increasingly mass-oriented type of performance.
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Wessels, Antje. "Er zullen wel Griekse ankers zijn …" Lampas 51, no. 4 (January 1, 2018): 341–57. http://dx.doi.org/10.5117/lam2018.4.005.wess.
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Summary Under the influence of philhellenistic ideas, ancient scholars ascribed the beginning of Roman literature to a ‘Greek slave’, Livius Andronicus, and his alleged translation of a Greek drama in 240 BC. This paper aims to demonstrate that the Roman project of finding ‘Greek origins’ had an impact not only on our general understanding of Roman tragedy, but also on the theoretical framework, methods and techniques of editing and contextualizing its fragmentary remains, i.e. on philological approaches to working with its fragments.
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Rader, Richard, and James Collins. "Introduction." Ramus 42, no. 1-2 (2013): 1–4. http://dx.doi.org/10.1017/s0048671x00000035.
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In 1990 Jack Winkler and Froma Zeitlin dropped a bomb on the study of Greek drama with the publication of Nothing to Do with Dionysos? Taking their departure from the narrow formalist historicism of prior scholarship, with its interest in properly historical persons, events and trends, Winkler and Zeitlin shifted their attention toward ‘the entire social context of the [dramatic] festival’ (3). Greek drama would now be a window into the sociocultural pulse of fifth-century Athens. This new praxis came to be known as ‘cultural poetics’, and its practitioners viewed Greek drama as an embedded and constitutive element of a society in constant negotiation with itself. Drama now reflected or symptomatised historical, religious and political context. As Simon Goldhill put it in the introduction to his study of the Oresteia:Tragedy takes place…at the moment of maximal unresolved tension between…systems of ideas… It explores the different and competing ideals, different and competing obligations, different and competing sense of words in the developing polis, different and competing ideas of glory and success… It discovers tensions and ambiguities with the very civic ideology of democracy that is the context of tragedy's performance… Tragedy takes the developing notions, vocabulary, commitments of democracy and places them under rigorous, polemical, violent and public scrutiny.The impact and aftershock of Nothing to Do with Dionysos? can still be felt today. In one way or another, we might say, we are all the children (and grandchildren) of Winkler and Zeitlin. The question remains, however, what type of children we have been in the time since (kaloi men k'agathoi, kakoi de k'aischroi?) and how we will honour their legacy as we move forward with the study of Greek drama.
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Siapatori, Katerina. "“For I Am Nothing without You”: Fragmentariness and the Transformability of Archetypal Identity in David Rabe’s The Orphan." FOCUS: Papers in English Literary and Cultural Studies 12, no. 1 (January 9, 2023): 93–104. http://dx.doi.org/10.15170/focus/10.2020.6.93-104.
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In the fi eld of literary refashioning and adaptation studies, ancient Greek drama has constituted an inexhaustible source of inspiration for artistic creation and production. When it comes to drama and theatrical performance, David Rabe’s The Orphan, the third play in his Vietnam-themed tetralogy, falls precisely in this category, as it is a revised and “extensive transposition” (Hutcheon 7) of two classical works: Aeschylus’s The Oresteia, the only surviving Greek trilogy, as well as Euripides’s Iphigenia at Aulis. In adapting these tragedies, the playwright chooses to juxtapose them onstage in order to represent and record the events which mark the generational trauma and the familial war in Agamemnon’s House. Rabe’s turn to classical Greek tragedy and his vision to rely on it and inform it are two inescapably “political acts” (Sanders 97), spurred by personal experience. The playwright had attended a performance of Euripides’s tragedy and had seen in it a link between the Trojan and the Vietnam War—and by extension Iphigenia’s sacrifice and the My Lai massacre—before proceeding, subsequently, to write the play in question. His realization that “the Greeks saw that reason was the flip side or dark side of unreason” and that his novel ideas were actually rooted in the ancient past (Morphos and Rabe 81) is the drive which urges him to base his play essentially upon the parent texts while attaching it to a uniquely different trajectory.
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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 play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.
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Billing, Christian M. "Representations of Greek Tragedy in Ancient Pottery: a Theatrical Perspective." New Theatre Quarterly 24, no. 3 (August 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 method in recent philologically inspired accounts of ancient pottery, Billing argues for a more nuanced approach to the interpretation of such artefacts – one that moves beyond an understanding of literary texts and art history towards a more performance-conscious approach, while also acknowledging that a multiplicity of spheres of artistic influence, drawn from a variety of artistic media, operated in the production and reception of such artefacts. Christian M. Billing is an academic and theatre practitioner working in the fields of ancient Athenian and early modern English and European drama. He has extensive experience as a director, designer, and actor, and has taught at a number of universities in the UK and the USA. He is currently Lecturer in Drama at the University of Hull.
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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.
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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.
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Damen, Mark. "French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama." Theatre Journal 55, no. 1 (2003): 113–34. http://dx.doi.org/10.1353/tj.2003.0014.
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Constantinidis, Stratos E. "The Rebirth of Tragedy: Protest and Evolution in Modern Greek Drama." Comparative Drama 21, no. 2 (1987): 156–81. http://dx.doi.org/10.1353/cdr.1987.0028.
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Chou, Mark. "Postmodern Dramaturgy, Premodern Drama: The Global Resurgence of Greek Tragedy Today." Journal for Cultural Research 15, no. 2 (April 2011): 131–52. http://dx.doi.org/10.1080/14797585.2011.574053.
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Γεωργακάκη, Ε. "Euripides’ Medea on stage, Smyrna 1898." Kathedra, no. 14(1) (March 23, 2023): 67–80. http://dx.doi.org/10.52607/26587157_2023_14_67.
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Το μελέτημα αναφέρεται στις δύο παραστάσεις της Μήδειας του Ευριπίδη από μαθητές Γυμνασίου της Ευαγγελικής Σχολής της Σμύρνης το 1898, σε διδασκαλία του καθηγητή Αντωνίου Βορεάδη. Η διδασκαλία του αρχαίου δράματος στα ελληνικά σχολεία της Σμύρνης είχε ενταχθεί ήδη πριν από την Ελληνική Επανάσταση του 1821, στην ύλη των αρχαίων ελληνικών. Μεταφράσεις και θεατρικές παραστάσεις αρχαίου δράματος στα ελληνικά σχολεία της Σμύρνης εντοπίζονται μετά τα μισά του 19ου αιώνα. Παρόλο που στο ρεπερτόριο των ελληνικών και ξένων θιάσων της εποχής εντοπίζονται παραστάσεις αρχαιόθεμων δραμάτων της κλασικίζουσας δραματουργίας με τον τίτλο Μήδεια, φαίνεται πως η παράσταση του ευριπίδειου δράματος στη Σμύρνη το 1898 είναι η πρώτη κατά τους νεώτερους χρόνους. This study gives a brief overview of the two recorded performances of Euripides’ Medea by students at the Evangelical School in Smyrna, in 1898, directed by their teacher Antonios Voreadis. Ancient Greek drama was taught in the Greek Schools of Smyrna already before the Greek Revolution of 1821, in the syllabus of ancient Greek language. Translations and performances of ancient Greek drama in the Greek schools of Smyrna are recorded after the second half of the 19th century. Although a considerable number of dramas called Medea, western European offsprings of the ancient Greek prototype, are detected in the repertoire of the Greek and foreign troupes who gave performances in Greece and the cities where the Hellenic Diaspora lived and thrived at that time, the performances of 1898 in Smyrna seem to be the first recorded ones of the Euripidean tragedy in recent times.
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Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (January 1, 2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.
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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.
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Wilmer, Steve. "Greek Tragedy as a Window on the Dispossessed." New Theatre Quarterly 33, no. 3 (July 10, 2017): 277–87. http://dx.doi.org/10.1017/s0266464x17000318.
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In this article Steve Wilmer discusses adaptations of Greek tragedy that highlight the plight of the displaced and the dispossessed, including Janusz Glowacki's Antigone in New York, Marina Carr's Hecuba, and Elfriede Jelinek's Die Schutzbefohlenen, which is notably emblematic among appropriations of ancient Greek plays in referencing the problems facing refugees in Europe. He considers how this latter play has been directed in a variety of ways in Germany and Austria since 2013, and how in turn it has been reappropriated for new dramatic performances to further investigate the conditions of refugees. Some of these productions have caused political controversy and one of them has even been physically attacked by a right-wing group. Steve Wilmer is Professor Emeritus of Drama at Trinity College Dublin. He is the co-editor of ‘Theatre and Statelessness in Europe’ for Critical Stages (2016), Resisting Biopolitics: Philosophical, Political, and Performative Strategies (Routledge, 2016), and Deleuze and Beckett (Palgrave Macmillan, 2015). He also edited a special issue of Nordic Theatre Studies in 2015 titled ‘Theatre and the Nomadic Subject’.
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Diamond, Catherine. "The Floating World of Nouveau Chinoiserie: Asian Orientalist Productions of Greek Tragedy." New Theatre Quarterly 15, no. 2 (May 1999): 142–64. http://dx.doi.org/10.1017/s0266464x00012835.
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Criticism is increasingly being levelled at western directors who, in the name of a vague intercultural aesthetic, embark on experiments combining western texts with various kinds of oriental movement, costume, and music. In this article, Catherine Diamond raises the same issues in regard to productions of western drama in Asia, and offers a detailed analysis of three productions of ancient Greek tragedies to reveal how a new kind of non-specific orientalism has come to pervade the international stage, originating no less in Asia than in the West. Lavish productions, mounted to impress the international festival circuit rather than to engage local audiences, appropriate western tragedies primarily on account of their status in the western literary and theatrical canon; and rather than offering new interpretations of the texts from a different cultural perspective, they contribute to the creeping ascendancy of superficially exotic spectacle. Catherine Diamond, a dancer and drama professor, is currently a director with Thalie Theatre, the only English-language theatre in Taiwan.
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De Santis, Guillermo. "El Drama Satírico y el reverso de la Tragedia." CODEX – Revista de Estudos Clássicos 4, no. 2 (December 16, 2016): 4. http://dx.doi.org/10.25187/codex.v4i2.5318.
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<p class="normal">El presente artículo presenta el Drama Satírico como el reverso teatral de la Tragedia. Como forma teatral inserta en el “espectáculo trágico”, la función del Drama Satírico no puede ser analizada separadamente de la Tragedia y se propone que el contraste con esta última es un modo acertado de análisis dada la escasez de fuentes que se poseen.</p><p class="normal">A partir del análisis de las implicancias humorísticas del lenguaje, la <em>ópsis</em> y la gestualidad, este artículo propone que el Drama Satírico opera fundamentalmente sobre las emociones suscitadas por las tragedias que, en época clásica, lo antecedían en la representación. De esta manera, se afirma que distendiendo el poder emotivo de las emociones trágicas, el satirógrafo puede ofrecer un espacio de alivio risible en el que algunos tópicos trágicos son representados desde una perspectiva humorística.</p><p class="normal">De esta manera, el Drama Satírico muestra el carácter ficcional de la Tragedia, operación básica para promover una distensión que, sin negar los efectos emotivos de aquella, admite la posibilidad de otras emociones (como la risa) en el tratamiento del mito y de los héroes épicos presentes en la trama de las tragedias.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Abstract</strong></p></div></div><div class="section"><div class="layoutArea"><div class="column"><p><span>This paper thinks the Satyr Drama as the theatrical reverse of the Tragedy. As a theatrical form inserted in the “Tragic Festivity”, the function of the Satyr Drama cannot be analyzed separately from the Tragedy and it is proposed that the contrast with </span>this major genre is a correct mode of analysis, given the scarcity of available sources.</p></div></div><div class="layoutArea"><div class="column"><p><span>Drawing from the analysis of the humorous implications of language, </span><span>ópsis </span><span>and gesture, this paper proposes that the Satyr Drama operates fundamentally on the emotions provoked by the tragedies that, in classical times, preceded it in the performance. This way, it is affirmed that, by distancing the emotional power of tragic emotions, the satirographer can offer a space of laughable relief in which some tragic topics are </span>represented from a humorous perspective. </p><div class="page" title="Page 2"><div class="layoutArea"><div class="column"><p><span>Finally, the Satyr Drama shows the fictional character of Tragedy, a basic operation to promote a distention that, without denying the emotional effects of Tragedy, admits the possibility of other emotions (such as laughter) in the treatment of myth and epic heroes </span>present in the plot of tragedies.</p></div></div><div class="layoutArea"><div class="column"><p><strong>Keywords: </strong><span>Satyr Drama; Greek Tragedy; language; </span><span>ópsis</span><span>; gesture </span></p></div></div></div></div></div></div></div><p class="normal"> </p>
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Donelan, Jasper F. "Some Remarks Concerning Night Scenes on the Classical Greek Stage." Mnemosyne 67, no. 4 (July 1, 2014): 535–53. http://dx.doi.org/10.1163/1568525x-12341213.
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This paper examines ways in which the dramatists of the fifth century staged night scenes in an open-air, daytime theater, as well as how these scenes relate to the rest of their respective plays’ action. For want of archaeological evidence or treatises on dramatic production, the texts of the tragedies and comedies form the basis of the investigation, which aside from its focus on production techniques also has wider implications for the handling of time in Greek drama. A comparison of tragedy and comedy reveals differences in the two genres’ approaches to conveying ‘darkness’ to their audiences. This also holds true for the pseudo-Euripidean Rhesus, whose plot is set almost exclusively at night. Aristophanic comedy often uses props such as lanterns or torches to reinforce a verbally constructed nocturnal setting whereas tragedy, as far as we can tell, relies solely on spoken description.
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MARIČIĆ, GORDAN, and MARINA MILANOVIĆ. "THE TRAGIC CHORUS IN ANCIENT TIMES AND NOWADAYS: ITS ROLE AND STAGING." ИСТРАЖИВАЊА, no. 27 (December 19, 2016): 58–68. http://dx.doi.org/10.19090/i.2016.27.58-68.
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In this paper we shall try to clarify the role of the chorus in the origin and development of the ancient tragedy. We can rightly say that it represents the pinnacle of intellectual and artistic expression of the Greek civilization. We will point out historical circumstances and facts related to the existence of the chorus; the place the chorus has in Greek society and on the stage as well as its characteristics will also be discussed.In the second part of this paper, possibilities of reviving the ancient drama, especially tragedy on the modern scene, shall be discussed. Should one aspire towards a more faithful imitation or a creative interpretation? What are the difficulties a director is facing when he has to decide what to do with the chorus? Is there only one answer or are there more?
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Ley, Graham, and Michael Ewans. "The Orchestra as Acting Area in Greek Tragedy." Ramus 14, no. 2 (1985): 75–84. http://dx.doi.org/10.1017/s0048671x00003489.
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For some years past there has been a welcome change of emphasis towards the consideration of staging in books published on Greek tragedy; and yet with that change also a curious failure to be explicit about the central problem connected with all stagecraft, namely that of the acting-area. In this study two scholars with considerable experience of teaching classical drama in performance consider this problem of the acting-area in close relation to major scenes from two Greek tragedies, and suggest some general conclusions. The article must stand to some extent as a critique of the succession of books that has followed the apparently pioneering study of Oliver Taplin, none of which has made any substantial or sustained attempt to indicate where actors might have acted in the performance of Greek tragedy, though most, if not all, have been prepared to discard the concept of a raised ‘stage’ behind the orchestra. Hippolytus (428 BC) is the earliest of the surviving plays of Euripides to involve three speaking actors in one scene. Both Alcestis (438 BC and Medea (431 BC almost certainly require three actors to be performed with any fluency, but surprisingly present their action largely through dialogue and confrontation — surprisingly, perhaps, because at least since 458 BC and the performance of the Oresteia it is clear that three actors were available to any playwright.
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Burnett, Anne Pippin. "Poetry into Drama: Early Tragedy and the Greek Poetic Tradition. John Herington." Classical Philology 82, no. 2 (April 1987): 154–56. http://dx.doi.org/10.1086/367040.
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Ley, Graham. "Varifocalism: a Perspective on the Discipline of Theatre Studies." New Theatre Quarterly 30, no. 3 (August 2014): 268–73. http://dx.doi.org/10.1017/s0266464x14000505.
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What is the discipline in which ‘academic drama’ is engaged? Leaving aside debates about an emphasis on theatre or performance as the key term, who is included in the discipline, and how has it reshaped itself over the last decades? Is it right to say there have been major redefining changes, and if so, what are they? Graham Ley is Emeritus Professor of Drama and Theory at the University of Exeter. He has published widely on ancient Greek performance and comparative theory, and is currently preparing an essay on a theoretical history for Greek tragedy. He has previously published in New Theatre Quarterly on developments in Australian theatre (1986), the avant-garde (1991), Peter Brook (1993), Diderot (1995), Tara Arts (1997), and most recently diaspora theatre in the UK (2011). The present discussion is adapted from the conclusion to Ancient Greek and Contemporary Performance, a collection of essays to be published later in the year by the University of Exeter Press.
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Ley, Graham. "On the Pressure of Circumstance in Greek Tragedy." Ramus 15, no. 1 (January 1986): 43–51. http://dx.doi.org/10.1017/s0048671x0000343x.
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It is an unfortunate weakness of most of the standard textbooks on Greek tragedy that they fail to communicate the immediacy of pressure that is of its essence. This particular inadequacy has hardly been corrected by the recent spate of books on either staging or the visual presentation of plays, which suggest themselves now as the standard adjustment to existing handbooks for students with or without the language.One of the few certainties we have, in beginning the argument, is that tragedy is, if anything, about decisions and their consequences. This much is implied in Aristotle's intuition about hamartia, which if it means ‘mistake’ can be taken to direct attention to the circumstances which dictate a decision. Indeed, decisions are far more prominent in Attic tragedy than mistakes as such: to take two examples from the Oresteia, which as an Aeschylean trilogy should not seem so exceptional as people are inclined to make it, both Agamemnon and Orestes take decisions of terrifying consequence that can hardly be classed as ‘mistakes’ (namely to kill a daughter and to kill a mother, Iphigenia and Clytemnestra in Agamemnon and Libation Bearers respectively). In this respect, Aristotle might be taken as considering more closely the sentimental drama that flourished in his day, and in this, if we judge by his perceptions, it may well be that Oedipus the King of Sophocles in fact marks a turning-point—in the desperate futility of Oedipus' errors—which is more readily, and perhaps with less justice, ascribed to Euripides.
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Makarova, Venera Faizievna. "Intertextuality as a device of poetics in Ilgiz Zainiev’s tragedy “Madina”." Philology. Issues of Theory and Practice 16, no. 8 (August 17, 2023): 2456–61. http://dx.doi.org/10.30853/phil20230385.
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The aim of the study is to identify intertextual connections and artistic-poetic features in the tragedy “Madina” by the Tatar playwright Ilgiz Zainiev. The paper examines the dialogue between the tragedy “Madina” and the ancient Greek tragedy “Medea” by Euripides at the level of images and plot. Examples from the history of Turkic-Tatar literature related to antiquity are given. The influence of the style of the English classic W. Shakespeare on I. Zainiev’s text is revealed. The originality of the poetics and style of the tragedy “Madina” is shown. The study is novel in that it is the first to consider a work of modern Tatar drama in connection with an ancient model, to reveal the role of the phenomenon of intertextuality in I. Zainiev’s tragedy as a way of determining the inclusion of the work in a broad universal context and contributing to the universalisation of the depiction. As a result, it has been proved that the moral-historical and cultural-aesthetic experience of the previous era, “someone else’s word” allowed the author to identify the universal meaning of the tragedy of an individual depicted by him.
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Aun, Ana Luiza Gontijo. "Diktyoulkoí – um drama satírico de Ésquilo." Nuntius Antiquus 4 (December 31, 2009): 82–91. http://dx.doi.org/10.17851/1983-3636.4..82-91.
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The satyr play was a small, comic play that closed a Greek tragic trilogy, placing the characters of the tragedy on a different setting where they meet satyrs and are mocked by them. The tragic tetralogy was common during the 5th and 4th centuries b.C., and all major tragedians such as Aeschylus, Sophocles and Euripides wrote satyr plays, being Aeschylus considered the best of them in this genre. Unfortunately, there are only fragments of his satyr plays and the Diktyoulkoi is the one with the largest numbers of verses preserved. The fragments were discovered separately and put together later. The main ones are the P.S.I. 1209a and P.Oxy.18 2161. They contain enough information about the plot, allusion to the myth of Danae and Perseus to which it is related and typical linguistic characteristics of the satyr play.