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Re-embodying and Rethinking Greek and Roman Drama in Modern Times
Series: - Metaforms, Volume: 27
Rooted in a range of approaches to the reception of classical drama, the chapters in this book reflect, in one way or another, that Greek and Roman drama in performance is an ongoing dialogue between the culture(s) of the original and the target culture of its translation/adaptation/performance. The individual case studies highlight the various ways in which the tradition of Greek and Roman plays in performance has been extremely productive, but also the ways in which it has engaged, at times dangerously, in political and social discourse.
Alena Sarkissian is a researcher at the Institute of Philosophy in the Czech Academy of Sciences, working at the intersection between Theatre Studies and Classical Philology. Her research focuses on Greek drama and its reception, especially in Byzantium and Czech culture. She is an academic consultant for Czech theatre practitioners staging classical drama.
Eliška Kubartová is an Assistant Professor in the Department of Theatre and Film Studies at Palacký University in Olomouc. Her research interests include ancient Roman theatre and theatre translation; she co-authored the first Czech translation of Plautus’ Curculio and dramaturged its student production.
Hallie Marshall is an Associate Professor of Theatre Studies in the Department of Theatre and Film at the University of British Columbia. Her research centres on Theatre History, particularly ancient Greek theatre and its reception in later periods.
Contributors are: Anastasia Bakogianni, Jakub Čechvala, Freddy Decreus, Maddalena Giovanelli, Edith Hall, George W. M. Harrison, Athena Kavoulaki, Eliška Kubartová, Dana LaCourse Munteanu , C. W. Marshall, Hallie Marshall, Romain Piana, Alena Sarkissian, Peter Swallow, Martina Treu.
Eliška Kubartová is an Assistant Professor in the Department of Theatre and Film Studies at Palacký University in Olomouc. Her research interests include ancient Roman theatre and theatre translation; she co-authored the first Czech translation of Plautus’ Curculio and dramaturged its student production.
Hallie Marshall is an Associate Professor of Theatre Studies in the Department of Theatre and Film at the University of British Columbia. Her research centres on Theatre History, particularly ancient Greek theatre and its reception in later periods.
Contributors are: Anastasia Bakogianni, Jakub Čechvala, Freddy Decreus, Maddalena Giovanelli, Edith Hall, George W. M. Harrison, Athena Kavoulaki, Eliška Kubartová, Dana LaCourse Munteanu , C. W. Marshall, Hallie Marshall, Romain Piana, Alena Sarkissian, Peter Swallow, Martina Treu.
Preface
List of Figures
Notes on Contributors
1 Appropriation through Gaps
Czech Reception of Greek Tragedy in the 19th and the Early 20th Century
Jakub Čechvala
2 Theatre as a Place of Spiritual Contemplation
Greek Tragedy at the National Theatre of Prague during Nazi Occupation (1939–1945)
Alena Sarkissian
3 A Glimmer of Hope with Plautus
Frejka’s Pseudolus in the National Theatre, Prague, 1942
Eliška Kubartová
4 Aeschylus, Homer, and Greek Ancestors in the Modern Sicilian Theatre
Martina Treu
5 Political Aristophanes on the Italian Contemporary Stage
Maddalena Giovannelli
6 Antigone in Aotearoa
Performing Sophocles’ Tragedy in New Zealand
Anastasia Bakogianni
7 Some Thoughts on the Relation between Text and Performance
Exploring Textual and Ritual Dynamics in 5th-Century Drama and Modern Stage Productions
Athena Kavoulaki
8 Greek and Roman Drama on the French Stage in the Database ‘Théâtre antique en France’
Romain Piana
9 About Energy
Main Protagonist in the Theatre of Theodoros Terzopoulos
Freddy Decreus
10 Woody Allen on Aristotle on Greek Tragedy
The Poetics Meets Hollywood
Dana LaCourse Munteanu
11 Reception Studies and the Case of ‘Euripides and Professor Murray’
Hallie Rebecca Marshall
12 Meeting Artemis
Ezra Pound’s Modernism and Euripides’ Greek
Edith Hall
13 The Birds and the Bees
Gender in Aristophanic Performance in 19th-Century Cambridge
Peter Swallow
14 Ovid, Dramatic Structure, and Thomas Heywood’s The Brazen Age
C.W. Marshall
15 Double Chorus in Roman Drama
George W.M. Harrison
General Index
List of Figures
Notes on Contributors
Part1 Around the Globe
1 Appropriation through Gaps
Czech Reception of Greek Tragedy in the 19th and the Early 20th Century
Jakub Čechvala
2 Theatre as a Place of Spiritual Contemplation
Greek Tragedy at the National Theatre of Prague during Nazi Occupation (1939–1945)
Alena Sarkissian
3 A Glimmer of Hope with Plautus
Frejka’s Pseudolus in the National Theatre, Prague, 1942
Eliška Kubartová
4 Aeschylus, Homer, and Greek Ancestors in the Modern Sicilian Theatre
Martina Treu
5 Political Aristophanes on the Italian Contemporary Stage
Maddalena Giovannelli
6 Antigone in Aotearoa
Performing Sophocles’ Tragedy in New Zealand
Anastasia Bakogianni
7 Some Thoughts on the Relation between Text and Performance
Exploring Textual and Ritual Dynamics in 5th-Century Drama and Modern Stage Productions
Athena Kavoulaki
8 Greek and Roman Drama on the French Stage in the Database ‘Théâtre antique en France’
Romain Piana
Part2 Across the Ages
9 About Energy
Main Protagonist in the Theatre of Theodoros Terzopoulos
Freddy Decreus
10 Woody Allen on Aristotle on Greek Tragedy
The Poetics Meets Hollywood
Dana LaCourse Munteanu
11 Reception Studies and the Case of ‘Euripides and Professor Murray’
Hallie Rebecca Marshall
12 Meeting Artemis
Ezra Pound’s Modernism and Euripides’ Greek
Edith Hall
13 The Birds and the Bees
Gender in Aristophanic Performance in 19th-Century Cambridge
Peter Swallow
14 Ovid, Dramatic Structure, and Thomas Heywood’s The Brazen Age
C.W. Marshall
15 Double Chorus in Roman Drama
George W.M. Harrison
General Index
Academics and (post)graduate students (theatre and performance studies, classical philology, literary and cultural histories), theatre practitioners, libraries