Author: James Barrett
Publisher: Univ of California Press
The messenger who reports important action that has occurred offstage is a familiar inhabitant of Greek tragedy. A messenger informs us about the death of Jocasta and the blinding of Oedipus, the madness of Heracles, the slaughter of Aigisthos, and the death of Hippolytus, among other important events. Despite its prevalence, this conventional figure remains only little understood. Combining several critical approaches—narrative theory, genre study, and rhetorical analysis—this lucid study develops a synthetic view of the messenger of Greek tragedy, showing how this role illuminates some of the genre's most persistent concerns, especially those relating to language, knowledge, and the workings of tragic theater itself. James Barrett gives close readings of several plays including Aeschylus's Persians, Sophocles' Electra and Oedipus Tyrannus, and Euripides' Bacchae and Rhesos. He traces the literary ancestry of the tragic messenger, showing that the messenger's narrative constitutes an unexplored site of engagement with Homeric epic, and that the role illuminates fifth-century b.c. experimentation with modes of speech. Breaking new ground in the study of Athenian tragedy, Barrett deepens our understanding of many central texts and of a form of theater that highlights the fragility and limits of human knowledge, a theme explored by its use of the messenger.
Understanding Greek Tragic Theatre, a revised edition of Greek Tragic Theatre (1992), is intended for those interested in how Greek tragedy works. By analysing the way the plays were performed in fifth-century Athens, Rush Rehm encourages classicists, actors, and directors to approach Greek tragedy by considering its original context. Emphasizing the political nature of tragedy as a theatre of, by, and for the polis, Rehm characterizes Athens as a performance culture, one in which the theatre stood alongside other public forums as a place to confront matters of import and moment. In treating the various social, religious and practical aspects of tragic production, he shows how these elements promoted a vision of the theatre as integral to the life of the city – a theatre whose focus was on the audience. The second half of the book examines four exemplary plays, Aeschylus’ Oresteia trilogy, Sophocles’ Oedipus Tyrannus, and Euripides’ Suppliant Women and Ion. Without ignoring the scholarly tradition, Rehm focuses on how each tragedy unfolds in performance, generating different relationships between the characters (and chorus) on stage and the audience in the theatre.
This volume explores how the choruses of Greek tragedy creatively combined media and discourses to generate their own specific forms of meaning. The contributors analyse choruses as fictional, religious and civic performers; as combinations of text, song and dance; and as objects of reflection in themselves, in relation and contrast to the choruses of comedy and melic poetry. Drawing on earlier analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the relations between dramatic and melic choruses, the chapters explore the uses of various analytic tools in allowing us better to capture the specificity of the tragic chorus. Special attention is given to the physicality of choral dancing, musical interactions between choruses and actors, the trajectories of reception, and the treatment of time and space in the odes.
This volume in The Edinburgh Leventis Studies series collects the papers presented at the sixth A. G. Leventis conference, It engages with new research and new approaches to the Greek past, and brings the fruits of that research to a wider audience.
A Companion to Sophocles presents the first comprehensive collection of essays in decades to address all aspects of the life, works, and critical reception of Sophocles. First collection of its kind to provide introductory essays to the fragments of his lost plays and to the remaining fragments of one satyr-play, the Ichneutae, in addition to each of his extant tragedies Features new essays on Sophoclean drama that go well beyond the current state of scholarship on Sophocles Presents readings that historicize Sophocles in relation to the social, cultural, and intellectual world of fifth century Athens Seeks to place later interpretations and adaptations of Sophocles in their historical context Includes essays dedicated to issues of gender and sexuality; significant moments in the history of interpreting Sophocles; and reception of Sophocles by both ancient and modern playwrights
Greek Drama III
Author: John Davidson, Frances Muecke, Peter Wilson
"Just as naturally happens with actors in tragedies where he who wears the mask of a messenger or servant gains glory and takes the lead while he who bears the crown and sceptre is not listened to when he speaks " Plutarch This book investigates the transformation of the Tragic Messenger, traditionally a minor supporting character in Greek drama who brought news from off stage, into one of the leading acting roles in ancient drama. It examines the features of Messenger speeches which made them attractive acting roles, reviews the Tragic Messenger in vase paintings, and analyzes the distribution of acting roles in the extant fifth-century tragedies. The technique of masked actors playing multiple roles in the same drama permitted 'metatheatrical' linkages between these acting roles. When these linkages involved Euripides' very vivid Messenger speeches, they allowed the Tragic Messenger to become an indispensable and stereotypical part of the drama. This was not only important in the development of the tragic genre itself, but may also have led to the stock role of the Running Slave in comedy."
With some exceptions, Noll (Christian thought, Wheaton College, Illinois) focuses on the chronological development of Christianity in the United States, although he does include a comparative chapter on Canada and Mexico. Synthesizing the work of other scholars, Noll describes the activities and bel
Author: Eurípides, Michael A. Lloyd
Andromache, written in the early years of the Peloponnesian War, shows the effects of war on the conquerors and the conquered. The other main theme is the role and nature of women, explored through the conflict between the contrasting figures of Andromache and Hermione. The play has a bold and original structure, which finds room for paranoia, nymphomania, racialism, blackmail, treachery, mental breakdown, elopement and revenge. The climax is a messenger speech describing the lynching of Neoptolemus in the temple of Apollo at Delphi. Fully revised new edition.
This important commentary by Alexander of Aphrodisias on Aristotle's work on biochemistry was previously lost. However, four chapters of it have been reidentified in an Arabic translation by Emma Gannge and are here translated for the first time. The chapters were preserved in the writings of an eighth-century alchemist, Jabir ibn Hayyan. In addition to preserving an interesting example of very early cross-cultural scientific activity in the Muslim world, the newly discovered material is of philosophical importance: We learn how Alexander attempted to provide a unified theory that would unite Aristotle's chemistry with his elemental physics. In addition to a translation of the text, this volume includes a detailed introduction demonstrating the authenticity of the work and discussing its contribution to our understanding of ancient science.
Author: Eurípides, James Morwood
Publisher: Aris & Phillips
First produced in the 420s BC, Suppliant Women centres around the actions of Theseus, King of Athens, who is persuaded by the Chorus of bereaved mothers to attack Thebes in order to obtain burial for their sons. The range of the play's debate is astonishing. It contains one of the Ur-texts of political theory. It explores social and religious themes. It deals with the concept of a just war, with the family, and with the role and behaviour of women. Above all it sets before us the education of Theseus, showing us movingly how this great hero is transformed into a great man.