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Books on the topic 'Performance in Ancient Greek theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Epidaurus encounters: Greek drama, ancient theatre and modern performance. Berlin: Parodos, 2011.

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2

Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. Athens: ISP (International Sport Publications), 2004.

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3

Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. Athens: ISP (International Sport Publications), 2004.

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4

Wiles, David. Mask and performance in Greek tragedy: From ancient festival to modern experimentation. Cambridge: Cambridge University Press, 2007.

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5

Spectator politics: Metatheatre and performance in Aristophanes. Philadelphia: University of Pennsylvania Press, 2002.

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6

Saxena, Asha. Ancient Greek and Indian theatre. Delhi: Parimal Publications, 1997.

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7

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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8

Theatre in ancient Greek society. London: Routledge, 1994.

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9

Greek theatre performance: An introduction. Cambridge: Cambridge University Press, 2000.

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10

Public and performance in the Greek theatre. London: Routledge, 1991.

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11

Public and performance in the Greek theatre. London: Routledge, 1989.

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12

Arnott, Peter D. Public and Performance in the Greek Theatre. London: Taylor & Francis Inc, 2002.

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13

Ley, Graham. A short introduction to the ancient Greek theater. Chicago, IL: University of Chicago Press, 2007.

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14

A short introduction to the Ancient Greek theater. Chicago: University of Chicago Press, 1991.

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15

A short introduction to the ancient Greek theater. Chicago: University of Chicago Press, 2006.

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16

Performance and drama in ancient Egypt. London: Duckworth, 2005.

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17

Myrsiades, Linda S. The Karagiozis heroic performance in Greek shadow theater. Hanover, N.H: University Press of New England, 1988.

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18

Ancient sun, modern light: Greek drama on the modern stage. New York: Columbia University Press, 1992.

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19

John, Barsby, ed. Greek and Roman drama: Translation and performance. Stuttgart: J.B. Metzler, 2002.

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20

Greek tragedy on the American stage: Ancient drama in the commercial theater, 1882-1994. Westport, Conn: Greenwood Press, 1995.

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21

Performing Greek comedy. Cambridge: Cambridge University Press, 2011.

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22

Wiles, David. The masks of Menander: Sign and meaning in Greek and Roman performance. Cambridge [England]: Cambridge University Press, 1991.

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23

Work in progress: Literary Revision as Social Performance in Ancient Rome. Oxford: Oxford University Press, 2012.

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24

Dionysus writes: The invention of theatre in ancient Greece. Ithaca, NY: Cornell University Press, 1998.

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25

Homer's Trojan theater. Cambridge: Cambridge University Press, 2011.

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26

Tragedy in Athens: Performance space and theatrical meaning. Cambridge: Cambridge University Press, 1997.

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27

Theater outside Athens: Drama in Greek Sicily and south Italy. Cambridge: Cambridge University Press, 2012.

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28

Walton, J. Michael. Living Greek theatre: A handbook of classical performance and modern production. New York: Greenwood Press, 1987.

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29

R, Smith Bruce. Ancient scripts & modern experience on the English stage, 1500-1700. Princeton: Princeton University Press, 1988.

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30

Greek tragedy in action. 2nd ed. London: Routledge, 2003.

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31

Lowell, Edmunds, and Wallace Robert W. 1950-, eds. Poet, public, and performance in Ancient Greece. Baltimore, Md: Johns Hopkins University Press, 1997.

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32

Wiles, David. Mask and Performance in Greek Tragedy: From Ancient Festival to Modern Experimentation. Cambridge University Press, 2007.

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33

Wiles, David. Mask and Performance in Greek Tragedy: From Ancient Festival to Modern Experimentation. Cambridge University Press, 2012.

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34

(Editor), Lowell Edmunds, and Robert W. Wallace (Editor), eds. Poet, Public, and Performance in Ancient Greece. The Johns Hopkins University Press, 2000.

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35

Ancient Theatre and Performance Culture Around the Black Sea. University of Cambridge ESOL Examinations, 2019.

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36

Aristophanes in Performance 421 Bc-Ad 2007. Taylor & Francis Group, 2020.

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37

1959-, Hall Edith, and Wrigley Amanda, eds. Aristophanes in performance, 421 BC-AD 2007: Peace, Birds and Frogs. London: Legenda, 2007.

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38

Hall, Edith, and Amanda Wrigley. Aristophanes in Performance 421bc-ad2007: Peace, Birds and Frogs (Legenda Main Series) (Legenda Main Series). Legenda, 2007.

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39

Powers, Melinda. Diversifying Greek Tragedy on the Contemporary US Stage. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777359.001.0001.

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Demonstrating that ancient drama can be a powerful tool in seeking justice, this book investigates a cross section of live theatrical productions on the US stage that have reimagined Greek tragedy to address political and social concerns. To address this subject, it engages with some of the latest research in the field of performance studies to interpret not dramatic texts in isolation from their performance context, but instead the dynamic experience of live theatre. The book’s focus is on the ability of engaged performances to pose critical challenges to long-standing stereotypes that have contributed to the misrepresentation and marginalization of under-represented communities. Yet, in the process, it also uncovers the ways in which performances can inadvertently reinforce the very stereotypes they aim to challenge. This book thus offers a study of the live performance of Greek drama and its role in creating and reflecting social, cultural, and historical identity in contemporary America.

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40

Pollard, Tanya. Greek Tragic Women on Shakespearean Stages. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793113.001.0001.

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Greek Tragic Women on Shakespearean Stages argues that ancient Greek plays exerted a powerful and uncharted influence on early modern England’s dramatic landscape. Drawing on original research to challenge longstanding assumptions about Greek texts’ invisibility, the book shows not only that the plays were more prominent than we have believed, but that early modern readers and audiences responded powerfully to specific plays and themes. The Greek plays most popular in the period were not male-centered dramas such as Sophocles’ Oedipus, but tragedies by Euripides that focused on raging bereaved mothers and sacrificial virgin daughters, especially Hecuba and Iphigenia. Because tragedy was firmly linked with its Greek origin in the period’s writings, these iconic female figures acquired a privileged status as synecdoches for the tragic theater and its ability to conjure sympathetic emotions in audiences. When Hamlet reflects on the moving power of tragic performance, he turns to the most prominent of these figures: “What’s Hecuba to him, or he to Hecuba/ That he should weep for her?” Through readings of plays by Shakespeare and his contemporary dramatists, this book argues that newly visible Greek plays, identified with the origins of theatrical performance and represented by passionate female figures, challenged early modern writers to reimagine the affective possibilities of tragedy, comedy, and the emerging genre of tragicomedy.

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41

Fischer-Lichte, Erika. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0012.

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The book concludes with an epilogue entitled ‘The Return of Dionysus. From Festive Performances to Global Spectacle’. It very briefly retraces the exchange of productions of Greek tragedies between Germany and other countries and ends with the role played by productions of Greek tragedies today, at German as well as international theatre festivals, thus linking them back to the most important festival in ancient Athens, the Great Dionysia. After explaining how such festivals in Germany reassert the central position held by theatre in German culture, the epilogue ends with a short discussion of Jan Fabre’s twenty-four-hour performance Mount Olympus—to Glorify the Cult of Tragedy (Berliner Festspiele, June 2015) as an allegory of and a reflection on Greek tragedy’s endurance on the German stage.

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42

Bosher, Kathryn G., and LaDale Winling. Greek Theater in Ancient Sicily. Edited by Edith Hall and Clemente Marconi. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108663878.

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43

Hagel, Stefan, and Christine Harrauer (edd.). Ancient Greek Music in Performance. Verlag der Österreichischen Akademie der Wissenschaften, 2005. http://dx.doi.org/10.1553/0x0006de35.

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44

Saxena, Asha. Ancient Greek and Indian Theatre. Parimal Publications, 2005.

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45

Yaari, Nurit. The Classical Tradition in University Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0011.

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This chapter surveys the history of classical Greek drama productions at the Department of Theatre Arts of Tel Aviv University as the basis for an exploration of the issue of theatre and art education. By analysing the students’ approach to classical Greek drama, we can see how they deal with the interpretative reading, translation, and performance of such texts on stage. We also see how the ancient works invite the students to delve more deeply into their distinctive content and forms; to draw links between theory and practice, and between text and context; to gain a deeper understanding of the issues of style and styling; and to engage in a richer experimentation with various aspects of stage performance—such as pronunciation, diction, voice, movement, music, and mise-en-scène.

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46

Green, J. R. Theatre in Ancient Greek Society. Taylor & Francis Group, 2016.

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47

Theatre in Ancient Greek Society. Routledge, 1996.

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48

Green, J. R. Theatre in Ancient Greek Society. Taylor & Francis Group, 2013.

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49

Green, J. R. Theatre in Ancient Greek Society. Taylor & Francis Group, 2013.

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50

Green, J. R. Theatre in Ancient Greek Society. Taylor & Francis Group, 2013.

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