Academic literature on the topic 'Performance in Ancient Greek theater'
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Journal articles on the topic "Performance in Ancient Greek theater"
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Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (January 16, 2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.
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In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.
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Arpaia, Maria. "Sounds on Stage: Musical and Vocal Languages and Experiences." Greek and Roman Musical Studies 7, no. 2 (August 20, 2019): 346–69. http://dx.doi.org/10.1163/22129758-12341355.
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Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.
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Schubert, Gottfried, and Emmanuel G. Tzekakis. "The ancient Greek theater and its acoustical quality for contemporary performances." Journal of the Acoustical Society of America 105, no. 2 (February 1999): 1043. http://dx.doi.org/10.1121/1.424971.
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Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.
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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.
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Ley, Graham. "The Rhetoric of Theory: the Role of Metaphor in Brook's ‘The Empty Space’." New Theatre Quarterly 9, no. 35 (August 1993): 246–54. http://dx.doi.org/10.1017/s0266464x00007971.
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In his discussion-piece for NTQ 28 (1991), Graham Ley raised questions about the self-determination of the avant-garde, drawing on analogies from dance and design to explore the problem of the post-modern in the theatre. He also outlined a critique of what he called an ‘alternative establishment in theatrical endeavour’: here, he extends that critique into an analysis of the techniques of persuasion to be found in one of the most influential texts in post-war theatrical theory, Peter Brook's The Empty Space, arguing for an enhanced attention to be given to the language and textuality of theory. Graham Ley is a writer and researcher who has taught in the Universities of London and Auckland. As Australian Studies Fellow in Theatre at the University of New South Wales in 1984, he compiled jointly with Peter Fitzpatrick of Monash University the survey of new developments in Australian theatre published in NTQ5 (1986). Among his numerous publications on ancient performance, A Short Introduction to the Ancient Greek Theater appeared from the University of Chicago Press in 1991. He is currently working on a book on theatrical theory.
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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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Rocconi, Eleonora. "Before the Première: Recording the Performance of Ancient Greek Drama." Dramaturgias, no. 5 (October 27, 2017): 10–21. http://dx.doi.org/10.26512/dramaturgias.v0i5.8103.
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Ancient Greek theatre, a multimedia spectacle (originally conceived for a unique performance) which involved words, music, gestures, and dance, has always been a challenge for scholars investigating its original performance. This paper explores the possibilities of the performative elements of the plays to be recorded during their theatrical staging, that is, before their première. More in detail, it examines the probability that — given the rhythmic and melodic nature of ancient Greek language and the descriptive and/or perlocutionary character of the scenic information within the texts — the authors could inscribe music and gestural expressiveness into the linguistic code. The high level of ‘performativity’ implied in these ancient texts probably delayed the need for a technology that could record their different multimedia components.
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Coldiron, Margaret. "Masks in the Ancient and Modern Theatre." New Theatre Quarterly 18, no. 4 (November 2002): 393–94. http://dx.doi.org/10.1017/s0266464x02220497.
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Hardwick, Lorna. "Translating Greek plays for the theatre today." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 321–42. http://dx.doi.org/10.1075/target.25.3.02har.
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This essay discusses the relationship between form, language, rewriting and performance in the contemporary staging of ancient Greek drama, with special attention to the range of working practices of the translators, rewriters and theatre practitioners that are involved in the performance creation process. The discussion is framed by questions about the reciprocal influences of research in translation studies and in classics and about how both can best engage with the insights offered by performance praxis.
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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.
Dissertations / Theses on the topic "Performance in Ancient Greek theater"
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Matthews, Laura S. "DIRECTING THROUGH ANCIENT MOVEMENT: An Experiment Exploring Ancient Greek Choral Structures on the Modern Stage." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5731.
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This thesis outlines my research and creative process of how to direct modern theatre under the structure of the Ancient Greek chorus, specifically through movement. I include a brief history of how the chorus functioned in Ancient Greek theatre; how movement shaped the chorus’ role as well as the story for the audience. Using the parameters of the chorus, I directed two theatrical productions, Jason Robert Brown’s Parade, and Sarah Ruhl’s adaptation of Virginia Woolf’s Orlando. Through exploration and analysis I conclude that using Ancient Greek choral movement in modern theatre helps to create a more specific story through gesture and space, bridges the gap between the audience and action onstage, and should be the foundation of how directing is taught in academic settings.
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Rainsberg, Bethany Rose Banister. "Rewriting the Greeks: The Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274473610.
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Troiani, Sara. "Tra testo e messinscena: Ettore Romagnoli e il teatro greco." Doctoral thesis, Università degli studi di Trento, 2020. http://hdl.handle.net/11572/265461.
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The thesis aims to analyse the reception of the ancient Greek drama by the Italian scholar Ettore Romagnoli (1871-1938), considering his critical essays, translations, and theatre performances. The mutual interaction of these three aspects represents the methodological approach to understand how Romagnoli conceived the interpretation of Greek theatre and its dramatic production in the modern age. The thesis consists of three parts. The first one analyses Romagnoli’s ideas on classical studies and the modern translations of ancient Greek poetry within the Italian culture in the early 20th Century and in opposition to the positivist approach in the classical philology and the Neo Idealistic Aesthetics. Furthermore, an exam of the entire work of Romagnoli as stage director is offered, along with the reconstruction of a mainly unknow controversy after his dismissal from the National Institute of Ancient Drama. The second part analyses Romagnoli’s academic studies on the hypothetical performance of ancient tragedy and comedy and the evolution of Greek poetry from music. It also identifies the possible influence of these theories within his own translations and performances. The last part deals with two examples of translations for the stage: the "Agamemnon" (1914) and the "Bacchae" (1922). On the basis of theatre translation studies and thanks to Romagnoli’s editions of the two works, both placed at his archive and library in Rovereto and rich of notes by the translator himself, the analysis attempts to examine the hypothetical performability and speakability of the two texts and whether cuts or modifications were introduced during the stage productions.La ricerca si propone di condurre un esame il più possibile esaustivo dell’opera del grecista Ettore Romagnoli (1871-1938) come esegeta, traduttore e metteur en scène del dramma antico. Grazie all’analisi della reciproca interazione di questi tre aspetti si è tentato di comprendere come il grecista abbia concepito l’interpretazione del teatro greco e ne abbia progettato la ‘reinvenzione’ drammatica. Il lavoro si suddivide in tre parti. Nella prima viene condotta una ricostruzione della carriera di Romagnoli nel contesto storico-culturale di inizio Novecento, analizzando le sue idee sul rinnovamento degli studi classici e sull’aggiornamento delle traduzioni della poesia greca. In questo quadro assumono notevole rilievo le polemiche condotte da Romagnoli in opposizione alle maggiori correnti accademico-culturali dell’epoca: l’estetica crociana e la filologia scientifica. Inoltre, l’analisi prende in esame l’idea di messinscena e le produzioni dirette da Romagnoli a partire dagli spettacoli universitari (1911-1913) fino alle rappresentazioni teatrali svolte a Siracusa e in altri teatri e siti archeologici d’Italia (1914-1937), insieme alla ricostruzione di una terza polemica, definita ‘siracusana’, che coinvolse il grecista in seguito alla sua estromissione dall’Istituto Nazionale del Dramma Antico. La seconda parte prende in considerazione gli studi scientifici e divulgativi di Romagnoli circa la ricostruzione dell’ipotetica performace della tragedia e della commedia di quinto secolo a.C. e l’evoluzione della poesia greca dalla musica, individuando, inoltre, le possibili rielaborazioni di queste teorie all’interno delle traduzioni e degli spettacoli teatrali. Nella terza parte si analizzano le traduzioni di "Agamennone" e "Baccanti" che Romagnoli portò in scena a Siracusa. Si è tentato di valutare, anche sulla base degli studi teorici relativi alla traduzione per il teatro, quanto l’attenzione alla ‘performabilità’ e alla ‘dicibilità’ del testo ne avesse influenzato la composizione oppure se fossero stati introdotti tagli e modifiche in fase di produzione degli spettacoli. Le due edizioni di "Agamennone" (1914) e "Baccanti" (1922) che facevano parte della biblioteca privata di Romagnoli presentano infatti annotazioni dell’autore riconducibili proprio ai suoi allestimenti per gli spettacoli al Teatro greco di Siracusa. Il lavoro ha potuto avvalersi di scritti inediti, articoli di giornale e documenti privati custoditi negli Archivi della Fondazione INDA e presso il Fondo Romagnoli, dal 2016 proprietà dell’Accademia Roveretana degli Agiati e attualmente in catalogazione presso la Biblioteca civica “G. Tartarotti” di Rovereto.
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Pukszta, Claire A. "Myrrha Now: Reimagining Classic Myth and Mary Zimmerman's Metamorphoses in the #metoo Era." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1374.
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This paper represents the final culmination of a theater senior project. The project consisted of an analytical research paper, performance in a mainstage department production, and supporting process documentation. I portrayed Myrrha, Hunger, Zeus, and others in a production of the play Metamorphoses.
Through research on Mary Zimmerman’s 1998 play Metamorphoses, adapted from the works of Roman poet Ovid, this thesis grapples with the historical meaning of the myth of Myrrha. A polarizing figure, Myrrha was cursed to fall in lust with her father. By exploring of portrayals sexual assault onstage, I tackle themes of audience relationships to trauma and taboo subjects. I seek to understand the importance of her story in a modern context, specifically considering the #metoo movement and increasingly public discussions around sexual violence, rape culture, and systematic oppression. I stress our responsibility to understand how codifying stories on stage impacts audiences.
This project also contains my conceptualization for the characters I portrayed in Metamorphoses, my rehearsal journal, and post-show reflections. In these sections, I detail the acting theory behind my characters as well as the steps we took to adapt Metamorphoses for our community.
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Noel, Anne-Sophie. "La dramaturgie de l'objet dans le théâtre tragique du Ve siècle avant J.C. - Eschyle, Sophocle, Euripide -." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30079.
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Dans l’Athènes du Ve siècle avant J.-C., les poètes tragiques étaient responsables de la production entière de leurs œuvres dramatiques, de l’élaboration de l’intrigue à la composition des parties parlées et chantées, de la chorégraphie à la direction d’acteurs, de l’entraînement du chœur à la mise en scène, et Eschyle et Sophocle furent mêmes acteurs dans certains de leurs drames. Les objets font partie des ressources matérielles auxquelles ils ont eu recours pour représenter leurs tragédies dans l’orchestra du théâtre de Dionysos. Épées, boucliers, vases, urnes funéraires, lits ou même chariots attelés, parmi bien d’autres exemples, se trouvent inscrits dans les textes des tragédies qui nous sont parvenus, comme des réalités du monde extérieur avec lesquelles les personnages interagissent et comme des éléments potentiels du spectacle. Par le biais des objets emblématiques qui les révèlent et des instruments qui prolongent leur main dans l’action ou se rebellent, les personnages se trouvent caractérisés comme héros tragiques. Notre travail propose dès lors de voir dans l’objet un principe de composition dramatique et de construction du spectacle de la tragédie, et interroge l’existence d’un imaginaire ou d’une pensée tragique des rapports entre hommes et objets, animés et inanimés. En prenant pour corpus l’ensemble des tragédies conservées d’Eschyle, de Sophocle et d’Euripide, complétées par les fragments les plus significatifs, il vise à faire émerger, dans leurs convergences et leurs singularités, les dramaturgies de l’objet contribuant à exprimer la vision tragique de chacun d’euxIn fifth-century Athens, tragic dramatists were responsible for the whole production of their plays, from plot-writing to casting, musical composition to choreography, staging to actor’s direction – performance was therefore an essential part of their work. Materialized by props on stage, objects are things with which the characters interact and a potential source of scenic effects. Swords, shields, vases, funerary urns, beds or even wheeled chariots, among many other objects, are mentioned in the extant tragedies and invested with dramatic function and symbolic meaning. Emblematic objects give an insight into the status and ethos of the characters; as instruments, objects are a means to achieve a goal, but they might resist to the characters’ intentions. All of them contribute to characterize them as tragic heroes. Therefore, this dissertation aims to show that the object can be considered as a principle of dramatic composition and of construction of the performance in Greek tragedy; it also questions the existence of a thought or an imagination of the relationships between human beings and objects, animate and inanimate, in the tragic plays. Looking at the whole corpus of extant tragedies by Aeschylus, Sophocles and Euripides (including the most significative fragments), this work describes the specific dramaturgy of the object developed by each poet to translate into visual and dynamic terms a tragic vision
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Katsouri, Antigoni. "Performing rituals in Ancient Greek tragedy today." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17983.
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This thesis sets out to display the dynamic role fragmented rituals have in the plot of tragedy. It contends that the tragedians deployed fifth-century ancient Greek religious practices from their cultural milieu as independent objects in their plots. Whether concise or fragmented, enacted or reported, they are modified into dramaturgical tools that move the story forward by effecting chains of reactions and link the past and the present with the aim of enhancing the critical ability of the audiences. These ritual representations in performance are most often either perverted or fail for various reasons. This thesis contends that this fragmentary re-imagining of cultural practices are an essential part of the tragic texts. However, rituals by nature are complex modes of actions and it seems that they retain much of their purposes, intentions and performativity within the texts. This complexity draws the attention to their individual treatment when they go through the process of translation, the expected reconstruction of the text to fit in the time limit of a performance, the editing and the directorial decisions for their staging. This research does not call for a 'historically authentic' performance of the rituals within the plays. Indeed, the lack of evidence makes it impossible to articulate with accuracy any elements of those early performances, and it is not the purpose of this thesis. This study strives to establish an analytical basis for understanding the balance between the demands of the play-text of the tragedians and the productions of a director from the perspective of the ritual content. This analysis is a response to a gap in scholarship concerning this aspect of the performative turn in the studies of ancient Greek texts. This thesis analyses, as far as we can determine, the classical Athenian rituals that were deployed in tragedy and fills in the scholarly gap created by the performative turn with regard to the historical awareness one needs as a tool to perceive the embedded functional role of rituals in tragedy. Their defining role in the story-line is then demonstrated with the textual analysis of rituals in five tragic plays. These plays are then studied in performance terms through analysis of three productions by the Theatrical Organisation of Cyprus. The discussion analyses the extent to which the ritual fragments dramaturgical functions were preserved in the productions, and the effects of their treatment in the experience of the spectator. The textual analysis and the performance analyses both concentrating on the ritual content, reveal the way in which rituals constitute the substrata in tragedy, and as such they require special attention in both a textual analysis and for a text-based production. The concluding discussion analyses the implications of the relationship between rituals and tragedy for contemporary performances, and suggests ways in which one might stage these ritual fragments today for contemporary audiences.
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Bentley, Gillian Granville. "Post-classical performance culture and the Ancient Greek novel." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/postclassical-performance-culture-and-the-ancient-greek-novel(a9f2b1a7-b48d-4686-9f99-62fadb0422bd).html.
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Scholars have focused mainly on the sophisticated and specifically literary elements of the novel, revealing a staggering amount of intertextual traffic between the novels and canonical authors from Homer to Herodotus to Plato to Menander. While this (very successful) endeavour has raised the value of the novels’ ‘cultural capital’, it has generally neglected another important aspect of the genre—the so-called ‘low’, ‘sub-literary’ influences on the novels. No work of art exists in a cultural vacuum—as work on intertextuality has shown, novelists like Achilles Tatius and Chariton were familiar with not only Homer and Plato but with contemporary intellectual culture. It seems more than possible that their knowledge would have extended beyond the textual and into the performance culture of the time. The principle concern of my thesis is the question of why the novel is so performative and theatrical. I explore the performance culture influences on three ancient Greek novels—the Callirhoe of Chariton of Aphrodisias, Leucippe and Clitophon of Achilles Tatius, and the Aethiopica of Heliodorus. Each novel makes use of ‘theatre’ metaphorically but also practically and narratologically. The impact of performance culture extends beyond the influence of scripted literary dramatic texts and engages with the broader forms of performance—from mime and pantomime to public speaking. I demonstrate that ‘sub-literary’ performance serves as vibrant, important dialogic partner for the novels, a voice to be heard among the medley of other ‘languages’ (Bahktin’s heteroglossia), if we but listen. By no means do I reveal any uncontaminated evidence for mime or pantomime within the novels, but multiply filtered reflections of popular performance traditions. I suggest that the novel authors composed with performance models in mind or with a sustained, explicit dialectic with performative intertexts.
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Marchal-Louët, Isabelle. "Le geste dramatique dans le théâtre d'Euripide : étude stylistique et dramaturgique." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30045/document.
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L'étude du geste dramatique dans le théâtre d'Euripide s'attache principalement à la dimension verbale du geste théâtral. Elle n'envisage pas seulement les mots qui disent le geste comme un moyen de reconstituer le geste de l'acteur mais cherche à éclairer grâce à eux l'art dramaturgique du poète. Une première partie est consacrée à l'étude stylistique des énoncés regroupés en « motifs gestuels » et montre l'importance des gestes pathétiques de la filiav dans les tragédies d'Euripide. Dans une seconde partie, une analyse comparée de gestes dans des séquences parallèles chez les trois grands Tragiques permet de mesurer les variations du rapport entre parole poétique et spectacle dramatique d'un poète à l'autre, afin de mettre en lumière la spécificité de l'expression euripidéenne du geste et le renouvellement du pathétiquedans son théâtre. Y sont interrogées les conséquences qu'ont pu avoir sur l'écriture du geste les modifications de la pratique théâtrale au cours du ve siècle avant J.-C., l'évolution des tendances artistiques et le poids de la sensibilité personnelle et de la vision tragique de chaque poète. Dans la troisième partie sont examinées les expérimentations théâtrales auxquelles s'est livré Euripide autour de l'expression du geste, notamment dans ses dernières pièces, et quiremettent en question la nature du tragiqueThis study focuses on gestures as indicated by the words in Euripides' tragedies. Words are not only here a means to reconstruct the actor's gesture on stage, but are analysed in order to enlighten the specificity of the poet's dramatic art. The first chapter presents a stylistic study of the gesture formulas, grouped according to « gestural patterns », and reveals theimportance of the pathetic gestures of filiav in Euripides' theatre. In the second chapter, the comparison of gestures in parallel scenes by the three Tragic dramatists sheds light on the differences between them in the relationship between dramatic text and stage action and on the novelty of Euripidean gestural expression and pathos. This comparison is linked to the evolution of tragic performance in the fifth century, to the evolution of artistic tendencies and to the poet's own sensibility. The third chapter is an analysis of Euripides' theatrical experiments involving dramatic gestures, especially in his late plays, and leads to a new definition of the tragic nature of Euripidean theater
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Roilou-Panagodimitrakopoulou, Ioanna. "Performances of ancient Greek tragedy and Hellenikoiita : the making of a Greek aesthetic style of performance, 1919-1967." Thesis, Lancaster University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420537.
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Baudou, Estelle. "Une archéologie du commun : mises en scène du chœur tragique dans les théâtres nationaux (1973-2010 – Allemagne, France, Royaume-Uni)." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100044/document.
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À partir des mises en scène de L’Orestie d’Eschyle, d’Œdipe roi de Sophocle et des Bacchantes d’Euripide diffusées dans les institutions nationales en Allemagne, en France et au Royaume-Uni entre 1973 et 2010, la thèse procède à une archéologie du commun, en explorant, d’une part, le concept de commun, et en particulier ses enjeux politiques, à travers une analyse des mises en scène contemporaines du chœur tragique et en étudiant, d’autre part, ces mises en scène à travers l’expression du commun. Ce travail propose donc de mettre au jour la construction et la circulation du discours sur le commun dans et entre ces trois pays. L’analyse des spectacles, d’abord, expose les éléments qui font ou entendent faire du chœur une incarnation du commun et met en perspective ces choix avec la réception de la tragédie grecque. Le discours sur le commun qui se construit ainsi au théâtre est ensuite confronté aux discours philosophiques et anthropologiques du moment mais aussi aux événements économiques, politiques et sociaux afin de faire apparaître les échos, les analogies, les ruptures et les discontinuités. Ainsi, entre 1973 et 1980, la mise en scène du chœur des Bacchantes a donné du commun une représentation utopiste où la communauté est fondée par le rituel. Dès 1980, à partir des Orestie de Peter Stein et Peter Hall qui tiennent lieu de modèles, le chœur devient un collectif où ce que les individus ont en commun est précisément leur singularité. Dans la continuité, jusqu’en 1999, les mises en scène d’Œdipe roi racontent la naissance de l’individu moderne à laquelle le chœur sert de cadre archaïque. Enfin, et malgré les tentatives dans des mises en scène de L’Orestie, au tournant du millénaire, pour refonder la communauté à partir d’une mémoire commune, les tragédies grecques montées dans les années 2000 présentent un désespoir de communautés – au double sens objectif et subjectif de l’expression. Cette archéologie du commun, qui reflète la globalisation à l’œuvre, est donc en creux une archéologie de l’individuAnalysing productions of Aeschylus’ The Oresteia, Sophocles’ Oedipus the King and Euripides’ The Bacchai in national theatres in France, Germany and the United-Kingdom between 1973 and 2010, this thesis proposes an archaeology of the common (in the sense of « what we have in common ») both exploring the political implications of the concept – thrown into sharp relief by the various ways ancient choruses were staged – and studying the productions themselves through the type of community that they make manifest. This work intends to highlight the construction and the circulation of contemporary discourses about the common within, and between, these three countries. Performance analyses first focus on the elements that make, or intend to make, the chorus into an incarnation of the common and put these choices into perspective through the reception of Greek tragedy. The discourse about the common thus built in theatres, is then confronted with philosophical and anthropological discourses, as well as with economic, political and sociological events in order to call attention to echoes, analogies, disruptions and discontinuities. Thus, between 1973 and 1980, performances of choruses in The Bacchai were built upon rituals, putting forward a utopian conception of the common. From 1980 onward, as Peter Stein’s and Peter Hall’s Oresteia became established models, the chorus morphed into a collective in which individuals had their singularity in common. Following this, until 1999, the performances of Oedipus the King hailed the birth of the modern individual, for whom the chorus acts as archaic backdrop. Lastly, and despite attempts in performances of The Oresteia at the turn of the millennium to rebuild a community out of common memory, Greek tragedies staged in the 2000s show the despair of, and about, communities. This archaeology of the common, reflecting the globalisation of European societies, is therefore indirectly an archaeology of the individual
Books on the topic "Performance in Ancient Greek theater"
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Epidaurus encounters: Greek drama, ancient theatre and modern performance. Berlin: Parodos, 2011.
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Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. Athens: ISP (International Sport Publications), 2004.
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Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. Athens: ISP (International Sport Publications), 2004.
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Wiles, David. Mask and performance in Greek tragedy: From ancient festival to modern experimentation. Cambridge: Cambridge University Press, 2007.
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Spectator politics: Metatheatre and performance in Aristophanes. Philadelphia: University of Pennsylvania Press, 2002.
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1939-, Walton J. Michael, and J. Paul Getty Museum, eds. The art of ancient Greek theater. Los Angeles, Calif: J. Paul Getty Museum, 2010.
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Greek theatre performance: An introduction. Cambridge: Cambridge University Press, 2000.
Find full textBook chapters on the topic "Performance in Ancient Greek theater"
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Ovando, Marina Solís de. "Focus in performance: some focusing expressions in anagnorisis scenes from Attic tragedy." In Ancient Greek Linguistics, edited by Felicia Logozzo and Paolo Poccetti, 447–56. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110551754-459.
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Safran, Meredith E. "Greek Tragedy as Theater in Screen-Media." In A Companion to Ancient Greece and Rome on Screen, 187–207. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118741382.ch8.
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Moore, Timothy J. "Ludic Music in Ancient Greek and Roman Theater." In Ludics, 181–211. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7435-1_9.
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Mantoan, Lindsey. "Ancient Wars, Endless War: Adaptations of Greek Tragedy." In War as Performance, 65–92. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-94367-1_3.
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Martin, Richard P. "Festivals, Symposia, and the Performance of Greek Poetry." In A Companion to Ancient Aesthetics, 15–30. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781119009795.ch1.
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Troubotchkine, Dmitri. "Ancient drama in Russia in the 1910s and 1920s." In Greek and Roman Drama: Translation and Performance, 216–32. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02908-9_13.
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Ford, Katherine. "What’s Old is New Again: Ancient Greek Theater Alive in the Spanish Caribbean." In The Theater of Revisions in the Hispanic Caribbean, 47–87. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63381-7_3.
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"Making Sense of Ancient Performance." In Performance in Greek and Roman Theatre, 1–42. BRILL, 2013. http://dx.doi.org/10.1163/9789004245457_002.
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Martin, Richard P. "Ancient theatre and performance culture." In The Cambridge Companion to Greek and Roman Theatre, 36–54. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521834568.003.
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"Actors’ Properties in Ancient Greek Drama: An Overview." In Performance in Greek and Roman Theatre, 89–110. BRILL, 2013. http://dx.doi.org/10.1163/9789004245457_006.
Full textConference papers on the topic "Performance in Ancient Greek theater"
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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.
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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.