Journal articles: 'Greek drama'

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Nietzsche, Friedrich. "Greek Music-Drama." New Nietzsche Studies 10, no. 3 (2017): 1–13. http://dx.doi.org/10.5840/newnietzsche2017/2018103/41.

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Barbosa, Tereza Virgínia Ribeiro. "Greek drama in Brazil." Phoînix 20, no. 2 (2014): 75–90. http://dx.doi.org/10.14195/1413-5787_20-2_5.

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Showerman, Earl. "A Century of Scholarly Neglect: Shakespeare and Greek Drama." Journal of Scientific Exploration 37, no. 2 (2023): 201–17. http://dx.doi.org/10.31275/20233109.

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In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.

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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (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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Gvozdeva, Tatiana Borisovna. "Great Panathenaia in Greek drama." RUDN Journal of World History 10, no. 4 (2018): 403–14. http://dx.doi.org/10.22363/2312-8127-2018-10-4-403-414.

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The works of the Greek playwrights of the classical period are an interesting source on the history of the panatheniac festival. The tragedies of Aeschylus, Sophocles, Euripides, and the comedies of Aristophanes contain information about both the sacred part of the Great Panathenaia and agones the Panathenaic games. Of the elements of the sacral part of the Panathenaic festival were most often mentioned holiday peplos for Athena, the participants of the Panathenaic procession, the night procession, sacrifi ce. Part of the Panathenaic games were both in agony, which is characteristic for the Panhellenic games available for the citizens of Greece and local competitions, participation in which was limited only to the citizens of Athens. The mention of agones inherent in the Panhellenic games can be found in many works of Greek playwrights, but nowhere is there a clarifi cation that we are talking about the Panathenaic games. But it is interesting to note that more mentioned in the tragedies, and especially in the comedies of Aristophanes local competitions, which were sacred.

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Jacobson, David J. "Vocative ΟΥΤΟΣ in Greek Drama". Classical Philology 110, № 3 (2015): 193–214. http://dx.doi.org/10.1086/681706.

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Revermann, Martin. "Reception Studies of Greek Drama." Journal of Hellenic Studies 128 (November 2008): 175–78. http://dx.doi.org/10.1017/s0075426900000124.

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Siopsi, Anastasia. "Influences of ancient Greek spirit on music romanticism as exemplifies in Richard Wagner's Gesamtkunstwerk." Muzikologija, no. 5 (2005): 257–67. http://dx.doi.org/10.2298/muz0505257s.

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The romantics' ideal of the arts' collaboration (Mischgedichte) finds its most substantial equivalent in Richard Wagner's (1813-1883) "total work of art" (Gesamtkunstwerk). This theory for the restoration of the 'lost' unity of arts was elaborated in many theoretical essays of Wagner and 'applied' in his music dramas. Unity of arts, as well as unity of arts with nature existed according to Wagner in Ancient Greece while drama was the epitome of all expressive elements of nature. This "new art of the future", which Wagner envisaged, would restore the 'wholeness' of ancient Greek drama. It is the purpose, therefore, of this study to analyze mainly from an aesthetic point of view the influences of ancient Greek spirit on romantic thought, by focusing on Wagner's work.

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Lawrence, William. "Advice to a student of Classics." Journal of Classics Teaching 18, no. 36 (2017): 15–16. http://dx.doi.org/10.1017/s2058631017000162.

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Look at the secondary school timetable and you will see that almost all the subjects are ancient Greek words; so the Greeks studied these ideas first and are worth studying for their ideas in their own language (just like the Romans in Latin!). Greek: Biology, Physics, Zoology, Philosophy, Mathematics, Economics, Politics, Music, Drama, Geography, History, Technology, Theatre Studies. Latin: Greek, Latin, Art, Science, Information (Latin) Technology (Greek), Computer Science, Media Studies.

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Čiripová, Dáša. "Greek Drama in the Hellenistic Period." Slovenske divadlo /The Slovak Theatre 65, no. 4 (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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Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (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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Demetriou, Tania, and Tanya Pollard. "Milton, drama, and Greek texts: preface." Seventeenth Century 31, no. 2 (2016): 131–37. http://dx.doi.org/10.1080/0268117x.2016.1193290.

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Klaassen, Johann A. "Moral Taint in Classic Greek Drama." Philosophy and Literature 24, no. 2 (2000): 327–45. http://dx.doi.org/10.1353/phl.2000.0040.

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Konstandaras, Nikos. "Greek Drama on a Global Stage." World Policy Journal 29, no. 4 (2012): 74–84. http://dx.doi.org/10.1177/0740277512470931.

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Figueira, Dorothy. "Fear in Greek and Sanskrit Drama." Rocznik Komparatystyczny 8 (2017): 191–202. http://dx.doi.org/10.18276/rk.2017.8-09.

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Kuch, Heinrich. "Problems of communication in Greek Drama." Acta Antiqua Academiae Scientiarum Hungaricae 41, no. 3-4 (2001): 313–21. http://dx.doi.org/10.1556/068.2001.41.3-4.11.

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Constantinidis, Stratos E. "Greek Drama and Multiculturalism: Is It Drama? Is It Modern? Is It Greek?: A Prolonged Prologue." Journal of Modern Greek Studies 14, no. 1 (1996): 1–30. http://dx.doi.org/10.1353/mgs.1996.0008.

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Wasserman, Jerry. "Gathering rose buds as ye may." Canadian Theatre Review 82 (March 1995): 90. http://dx.doi.org/10.3138/ctr.82.018.

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In our review article, Rob Nunn considers the disparate goals of three anthologies: canonizing Canadian drama (Wasserman), collecting dramatic scenes (Hamill), and promoting regional drama (Johnston Lewis and Warren). From the Greek words anthos, meaning “flower” and legein, “to gather”, “anthology” describes a collection of the “flowers” of Greek verse, the gathering up of small choice poems. Of course, gathering implies judging, selecting, and rejecting. And in the age of post-modern drama, Canadian and otherwise, these activities are permeated with ideological agendas. “Choice” becomes exceedingly problematic when we recognize that principles of judgement and selection are no longer “natural”, no longer unscrutinized. What do anthologists reject, exclude, make standard? What is “standard”? CTR considers three anthologies here because the impulse to anthologize, it seems, is as old as the Greeks. But, given the increasing difficulty to justify “judgement”, does the anthology have a future? JTG

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Wasserman, Jerry, Tony Hamill, Marion Gilsenan, et al. "Modern Canadian Plays, 3rd ed., 2 vols; You’re Making a Scene: Scenes from Canadian Plays; Eureka! Seven One-Act Plays for Secondary Schools." Canadian Theatre Review 82 (March 1995): 90–92. http://dx.doi.org/10.3138/ctr.82.019.

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In our review article, Rob Nunn considers the disparate goals of three anthologies: canonizing Canadian drama (Wasserman), collecting dramatic scenes (Hamill), and promoting regional drama (Johnston Lewis and Warren). From the Greek words anthos, meaning “flower” and legein, “to gather”, “anthology” describes a collection of the “flowers” of Greek verse, the gathering up of small choice poems. Of course, gathering implies judging, selecting, and rejecting. And in the age of post-modern drama, Canadian and otherwise, these activities are permeated with ideological agendas. “Choice” becomes exceedingly problematic when we recognize that principles of judgement and selection are no longer “natural”, no longer unscrutinized. What do anthologists reject, exclude, make standard? What is “standard”? CTR considers three anthologies here because the impulse to anthologize, it seems, is as old as the Greeks. But, given the increasing difficulty to justify “judgement”, does the anthology have a future? JTG

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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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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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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 (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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Brooks, Jason. "Found in Translation: Greek Drama in English." Comparative Literature Studies 45, no. 4 (2008): 534–37. http://dx.doi.org/10.2307/complitstudies.45.4.0534.

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Whitmarsh, Tim. "RADICAL COGNITION: METALEPSIS IN CLASSICAL GREEK DRAMA." Greece and Rome 60, no. 1 (2013): 4–16. http://dx.doi.org/10.1017/s001738351200023x.

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The Hollywood movie Stranger than Fiction (2006) centres on a tax inspector, Harold Crick, who begins to hear a voice inside his head. This voice, he gradually realizes, belongs to the narrator of a book in which he is the central character. As the plot unfurls, the narrator begins to drop hints that Harold will die at the end of the story. Understandably disturbed by these intimations, Harold decides to confront a university professor, and between the two of them they identify the author as one Kay Eiffel. Harold then tracks down the author and begs her not to kill him off.

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Perris, Simon. "Our Saviour Dionysos: Humanism and Theology in Gilbert Murray's Bakkhai." Translation and Literature 21, no. 1 (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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Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist 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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Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 1 (2024): 56–72. http://dx.doi.org/10.1093/crj/clad029.

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Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.

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Vervain, Chris. "Performing Ancient Drama in Mask: the Case of Greek Tragedy." New Theatre Quarterly 28, no. 2 (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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Kosti, Katerina, and Theodora Papaioannou. "Drama-in-education for critical historical thinkers: A case study in the Greek context." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 2 (2020): 26–41. http://dx.doi.org/10.33178/scenario.14.2.2.

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The case study presented in this article refers to the connection of drama-in-education and critical thinking in history, in order to highlight the importance of drama for the teaching of history in primary schools in Greece. The research plan adopted is quantitative and qualitative, and the research strategy applied is that of case study. For the purposes of this study, four scenarios based on drama-in-education techniques were designed and applied on a sample of forty-three primary students. The analysis of the findings show that the students’ understanding of historical contexts and objectives of historically active subjects was encouraged by drama-based instruction.

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

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When considering the landscape of drama and theatre performance in the sixteenth century in terms of classical reception, original plays written in Latin have not been accorded full attention. The many hundreds of Latin plays written and performed in England alone in this century were potentially vital locations for experimentation and for the reception not only of obvious Roman models but also of ancient Greek plays. In this article, one example, the biblical Latin drama Archipropheta by the scholar, poet, and playwright Nicholas Grimald (1519–1562), is examined to show how it is haunted by 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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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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Edwards, Anthony T., and Robert J. Forman. "Classical Greek and Roman Drama: An Annotated Bibliography." Classical World 84, no. 6 (1991): 496. http://dx.doi.org/10.2307/4350948.

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English, Mary C., and Gregory W. Dobrov. "Figures of Play: Greek Drama and Metafictional Poetics." Classical World 96, no. 1 (2002): 109. http://dx.doi.org/10.2307/4352729.

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Burian, Peter. "Greek Drama, History, and the Rise of Democracy." أوراق کلاسیکیة 11, no. 1 (2012): 1–12. http://dx.doi.org/10.21608/acl.2012.89429.

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Ioannou, Georgios. "The tragic in Greek drama and conceptual blending." Journal of Literary Semantics 49, no. 2 (2020): 167–90. http://dx.doi.org/10.1515/jls-2020-2025.

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AbstractThis paper examines the tragic sense permeating ancient Greek drama as a product of a special type of conceptual integration between two antithetic mental spaces, which prompts the simultaneous generation of two mutually exclusive emergent structures. The special tragic sense generated carries along the inferences of two equally impossible situations. The key-difference between this type of blend and other counterfactuals is argued to be found in the lack of reference scenario in the blend. In the context of theatrical enactment, the realisation of this special type of antithetic blend is based on the frame-clash between conceived and enacted space, matched by the emotions of pity and fear, respectively. The feeling of catharsis that follows the end of the play is analysed as a second level blend within the emergent structure that leads to the restoration of a single common space of cognitive compatibility between actors and audience.

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Schleiner, Louise. "Latinized Greek Drama in Shakespeare's Writing of "Hamlet"." Shakespeare Quarterly 41, no. 1 (1990): 29. http://dx.doi.org/10.2307/2870800.

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Burwick, Frederick. "Greek Drama: Coleridge, De Quincey, A. W. Schlegel." Wordsworth Circle 44, no. 1 (2013): 3–12. http://dx.doi.org/10.1086/twc24045870.

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Dedoussi, Christina. "GREEK DRAMA AND ITS SPECTATORS: CONVENTIONS AND RELATIONSHIPS." Bulletin of the Institute of Classical Studies 40, Supplement_66 (1995): 123–32. http://dx.doi.org/10.1111/j.2041-5370.1995.tb02184.x.

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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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Kutzko, David. "Found in Translation: Greek Drama in English (review)." Comparative Drama 41, no. 4 (2007): 515–18. http://dx.doi.org/10.1353/cdr.2008.0006.

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Koukoutsaki, Angeliki. "Greek Television Drama: Production Policies and Genre Diversification." Media, Culture & Society 25, no. 6 (2003): 715–35. http://dx.doi.org/10.1177/0163443703256001.

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Puchner, Walter. "Early Modern Greek Drama: From Page to Stage." Journal of Modern Greek Studies 25, no. 2 (2007): 243–66. http://dx.doi.org/10.1353/mgs.2008.0016.

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Constantinidis, Stratos E. "Existential Protest in Greek Drama During the Junta." Journal of Modern Greek Studies 3, no. 2 (1985): 137–43. http://dx.doi.org/10.1353/mgs.2010.0046.

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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (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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Kalogirou, Konstantina. "Step into Drama and Teach English affordably." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (2016): 33–48. http://dx.doi.org/10.33178/scenario.10.1.3.

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This paper demonstrates how drama was used as a teaching tool in an English as a Foreign Language class in a Greek primary school. This paper presents, in particular, the origins, values and principles of Drama in Education (DiE) while exploring why drama is considered a suitable and efficient learning medium in a country that currently struggles with an economic crisis, which undoubtedly affects the education sector. While Greek schools suffer from staff shortages and limited equipment, there is an urgency for innovative, motivating, and affordable teaching methodologies that activate learners, bridge the gaps left by current teaching approaches, and encourage learners to safely immerse themselves in the target language. Finally, this paper sketches the motivating, engaging, and efficient contribution of DiE to language learning processes and claims it to be an adaptable and affordable teaching medium for any language teacher.1

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Storey, Ian C. "Old Comedy 1982-1991." Antichthon 26 (November 1992): 1–29. http://dx.doi.org/10.1017/s0066477400000666.

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A version of this commentary and bibliography was originally presented at the ‘Greek Drama II’ conference in Christchurch in February 1992. A subtitle could have been ‘What's been done since Sydney’ (site of ‘Greek Drama I’ in 1982), since my topic was to present a survey of the work of the past decade in Old Comedy. In a short period I cannot deal with all plays and topics, but will limit myself to six areas of discussion: (a) general studies, (b) Aristophanes’ early career, (c) Aristophanes and politics, (d) ritual as sub-text, (e) women in comedy, and (f) Eupolis and Kratinos.

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Andreadi, Ioli. "On Women in Ancient Greek Culture, Drama and Education." International Journal of Scientific Research and Management 11, no. 06 (2023): 2796–805. http://dx.doi.org/10.18535/ijsrm/v11i06.el01.

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Women in ancient Greek culture, drama and education is a question which has been at the centre of the theoretical debate and creative experiences at least from the middle of the twentieth century until today. This paper proposes to revisit this question based on three principles. First of all, it refers not only to the dominant model of Athens but also to other parts of Hellenism, whose political systems may be democracies, tyrannies or hereditary kingdoms. Secondly, it draws its examples from the Greek metropolis of the 5th and the 4th centuries B.C., but also from other places and periods, which cover an area from the Mediterranean to Asia and a period long before and after the classical era. Thirdly, it envisages the question of ancient Greek women not only from the angle of culture, meaning literature and drama, but more generally in all the senses contained in the ancient term paedeia (παιδεία), including education. To clarify the meaning of this last point I would say that I am trying to highlight that what ancient Greek women were, depended in many ways on what their paedeia consisted in and, more precisely, on how they were educated.

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Péti, Miklós. "From Orestes to Hamlet." AnaChronisT 10 (September 26, 2023): 182–87. http://dx.doi.org/10.53720/tkyk1136.

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Fitzmaurice, Susan M. "“Plethoras of witty verbiage” and “heathen Greek”." Journal of Historical Pragmatics 3, no. 1 (2002): 31–60. http://dx.doi.org/10.1075/jhp.3.1.03fit.

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This paper draws upon Horn’s reworking of Grice’s conversational maxims as Q- and R-principles in order to provide a rich pragmatic reading of British comic drama, from the London comedies of Ben Jonson, to the restoration comedy of William Wycherley to the late twentieth-century London comedy of Steven Berkoff. I demonstrate that short-circuited implicatures (SCIs) as well as conventional and conversational implicatures operate to illuminate comic meaning for readers, both knowledgeable and unfamiliar with the historical code and the cultural milieu in which these plays may be set. I conclude that two kinds of pragmatic work are involved in reading comic drama: conversational implicature is situation- rather than code-based, and depends upon our ability to construe pragmatic acts in the dramatic text. The other kind of pragmatic work involves the inference that the meanings intended are conventional and cannot be reconstructed or calculated from what is being said.

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

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Abstract This article examines the aesthetic means employed in classical performances produced by the Institute of Ancient Drama (INDA) in Syracuse between 1914 and 1930, with a particular focus on performances of Aeschylus’ tragedies. The first part of this study traces the influences of late nineteenth- and early twentieth-century modernist and avant-garde movements on the Syracusan project, including the experiments pioneered by the radical French gauche, the German productions directed by Hans Oberländer with Ulrich von Wilamowitz-Mollendorf in the role of dramaturg and translator, as well as Max Reinhardt’s early engagements with ancient Greek drama and his vision of theatre (particularly his Theatre of the Five Thousand). It then discusses the aesthetic trajectory that productions of ancient Greek drama, and more specifically those of Aeschylus’ plays, underwent from INDA’s beginnings in 1914–30, when an all-fascist governing body was installed at its helm.

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Journal articles on the topic 'Greek drama'

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