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... a new interpretation to a well-known myth. This has not always been appreciated and therefore in this essay it will be endeavoured, by a close reading of the text, to clear away some of the misconceptions surrounding this tragedy. The first prejudice critics often used to obscure Seneca's version wa ...
... a new interpretation to a well-known myth. This has not always been appreciated and therefore in this essay it will be endeavoured, by a close reading of the text, to clear away some of the misconceptions surrounding this tragedy. The first prejudice critics often used to obscure Seneca's version wa ...
Acting Tragedy in Twentieth Century Greece
... of the twentieth century. Furthermore, it examines those actors and directors, who experimented on the staging as well as the space where tragedy was presented from the beginning of the 1980s until the end of the 1990s. The focus of this work is on tragedy because this genre is presented on the Gre ...
... of the twentieth century. Furthermore, it examines those actors and directors, who experimented on the staging as well as the space where tragedy was presented from the beginning of the 1980s until the end of the 1990s. The focus of this work is on tragedy because this genre is presented on the Gre ...
The Delian Maidens and their relevance to choral mimesis in
... (2009); also the book of Barbara Kowalzig (2007). In the case of my own later work, I highlight two books, Homer the Classic (2008/2009) and Homer the Preclassic (2009/2010).5 When I use the word chorus here, I have in mind the Greek word khoros. I understand the fundamental meaning of khoros to be ...
... (2009); also the book of Barbara Kowalzig (2007). In the case of my own later work, I highlight two books, Homer the Classic (2008/2009) and Homer the Preclassic (2009/2010).5 When I use the word chorus here, I have in mind the Greek word khoros. I understand the fundamental meaning of khoros to be ...
Scripts - Theatre
... ANGELS IN AMERICA, PART 1: MILLENNIUM APPROACHES ANGELS IN AMERICA, PART 1; MILLENNIUM APPROACHES ANGELS IN AMERICA: MILLENNIUM APPROACHES ANGELS IN AMERICA: PART 1 ANGELS IN AMERICA: PART 2 ANNA CHRISTIE ANNA IN THE TROPICS ANNA SOPHIE HEDVIG ANNE OF THE THOUSAND DAYS ANNE OF THE THOUSAND DAYS, ACT ...
... ANGELS IN AMERICA, PART 1: MILLENNIUM APPROACHES ANGELS IN AMERICA, PART 1; MILLENNIUM APPROACHES ANGELS IN AMERICA: MILLENNIUM APPROACHES ANGELS IN AMERICA: PART 1 ANGELS IN AMERICA: PART 2 ANNA CHRISTIE ANNA IN THE TROPICS ANNA SOPHIE HEDVIG ANNE OF THE THOUSAND DAYS ANNE OF THE THOUSAND DAYS, ACT ...
- University of Bath Opus
... is demolished a few lines later by a correction that has the opposite effect. ‘Cher Pylade,’ says Oreste in the original version, ‘crois-moi, mon tourment me suffit’ (783). This becomes, in 1676: Cher Pylade, crois-moi, ta pitié te séduit. Thus does Racine underscore Pylade’s persona. For once unsu ...
... is demolished a few lines later by a correction that has the opposite effect. ‘Cher Pylade,’ says Oreste in the original version, ‘crois-moi, mon tourment me suffit’ (783). This becomes, in 1676: Cher Pylade, crois-moi, ta pitié te séduit. Thus does Racine underscore Pylade’s persona. For once unsu ...
"Words, words, words": The Idea of the Absurd as Method in Hamlet.
... Rene Girard argues that the differences between comedy and tragedy are in fact minimal (812). This is because both genres evoke a similar physical response: Laughter and tears (812). Girard notes that tears suggest a true cathartic experience in tragedy because tears correspond to the twin ideas of ...
... Rene Girard argues that the differences between comedy and tragedy are in fact minimal (812). This is because both genres evoke a similar physical response: Laughter and tears (812). Girard notes that tears suggest a true cathartic experience in tragedy because tears correspond to the twin ideas of ...
Oedipus the King: A Greek Tragedy, Philosophy, Politics
... more this play was cherished as the paradigm of the Aristotelian rules, the more some neoclassical writers reacted against it. It was not surprising, then, that playwrights like Corneille and Voltaire in France and to a lesser degree Dryden in England, approached Oedipus with a critical eye on their ...
... more this play was cherished as the paradigm of the Aristotelian rules, the more some neoclassical writers reacted against it. It was not surprising, then, that playwrights like Corneille and Voltaire in France and to a lesser degree Dryden in England, approached Oedipus with a critical eye on their ...
Modul Bahan Ajar FREDY NUGROHO, M.HUM. FAKULTAS ILMU
... and derive from the Greek verb dran, “to do.” Therefore, it is important to note that when we define drama as “action” this does not mean drama is “an exciting narrative” featuring the violence and murder found in modern action films (King, 2007:4-5). To say the least, the term drama we are discussi ...
... and derive from the Greek verb dran, “to do.” Therefore, it is important to note that when we define drama as “action” this does not mean drama is “an exciting narrative” featuring the violence and murder found in modern action films (King, 2007:4-5). To say the least, the term drama we are discussi ...
to destroy or to reform? controversies on plato`s
... their proscriptions and prohibitions.”1 Barish adds that Plato “provides a philosophical framework for debat over all art, and most of the key terms for a controversy that raged for two millennia after his death and still smoulders today.”2 In this perspective, Plato’s anti-theatrical argumentation ...
... their proscriptions and prohibitions.”1 Barish adds that Plato “provides a philosophical framework for debat over all art, and most of the key terms for a controversy that raged for two millennia after his death and still smoulders today.”2 In this perspective, Plato’s anti-theatrical argumentation ...
The mediation in late twentieth-century English theatres of selected
... theme, both the translation of ancient texts for the settings, audiences and conventions of late twentieth-century English theatre, and the translation, or transformation, which a performance effects on that text. Though simplistic publicity for modem productions of Greek drama in translation often ...
... theme, both the translation of ancient texts for the settings, audiences and conventions of late twentieth-century English theatre, and the translation, or transformation, which a performance effects on that text. Though simplistic publicity for modem productions of Greek drama in translation often ...
Review - Summit School District
... 1. Which of the following statements is not true about the Greek Theatre? a. the Greek Theatre was carved in the hillside of a mountain b. the stage where the chorus sang and danced was called the orchestra c. the Greek Theatre was a large, elaborate building d. plays performed in the Greek Theatre ...
... 1. Which of the following statements is not true about the Greek Theatre? a. the Greek Theatre was carved in the hillside of a mountain b. the stage where the chorus sang and danced was called the orchestra c. the Greek Theatre was a large, elaborate building d. plays performed in the Greek Theatre ...
ENG 362 English Drama
... Shakespeare and other masters of the past are, as Jan Knott and others have pointed out, our contemporaries. Their greatness transcends the limits of time and many cultural differences; in the theatre, they reveal their contemporaneity only when they are felt and projected in response to our innermo ...
... Shakespeare and other masters of the past are, as Jan Knott and others have pointed out, our contemporaries. Their greatness transcends the limits of time and many cultural differences; in the theatre, they reveal their contemporaneity only when they are felt and projected in response to our innermo ...
William Shakespeare William Shakespeare (baptised 26 April 1564
... contemporary events, even Shakespeare's own reflections on the act of writing, began to infuse each other". Shakespeare's so-called "tragic period" lasted from about 1600 to 1608, though he also wrote the so-called "problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends ...
... contemporary events, even Shakespeare's own reflections on the act of writing, began to infuse each other". Shakespeare's so-called "tragic period" lasted from about 1600 to 1608, though he also wrote the so-called "problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends ...
Understanding Drama - Shivaji University
... The word drama comes from the Greek meaning “to act, do or perform”, and it is in the several subtle and diverse meanings of “to perform” that drama can be said to have begun. All communities accept that their later drama has roots in pre-history. Anthropologists have shown that primitive societies ...
... The word drama comes from the Greek meaning “to act, do or perform”, and it is in the several subtle and diverse meanings of “to perform” that drama can be said to have begun. All communities accept that their later drama has roots in pre-history. Anthropologists have shown that primitive societies ...
Romeo and Juliet
... sub-genre of drama. Some famous classical dramatists were thus “pure” because they chose to write either purely tragedies or purely comedies. When we say there were three great tragedians (Aeschylus, Sophocles, and Euripides) and one great comedian (Aristophanes) in the Greek Period while there were ...
... sub-genre of drama. Some famous classical dramatists were thus “pure” because they chose to write either purely tragedies or purely comedies. When we say there were three great tragedians (Aeschylus, Sophocles, and Euripides) and one great comedian (Aristophanes) in the Greek Period while there were ...
Theatre of the Oppressed
... you saw isn’t a portrayal of reality, it’s a game!’ He used the word ‘game’ in the sense of interpretation, as the French say jeu or the English ‘play’. What he really meant was theatre, fiction, possibility, image or even, perhaps, representation of the real. ‘All the same, it’s a dangerous thing t ...
... you saw isn’t a portrayal of reality, it’s a game!’ He used the word ‘game’ in the sense of interpretation, as the French say jeu or the English ‘play’. What he really meant was theatre, fiction, possibility, image or even, perhaps, representation of the real. ‘All the same, it’s a dangerous thing t ...
An Interface of the Old and the New: Creating the Conscious
... As Hardwick (2004:219-42) further observes, “classical referents are a sign of a double consciousness which recognises both the assimilationist impact of classical texts on colonised peoples … and also the capacity of writers to use the texts and referents to create new works.” Their impact transfor ...
... As Hardwick (2004:219-42) further observes, “classical referents are a sign of a double consciousness which recognises both the assimilationist impact of classical texts on colonised peoples … and also the capacity of writers to use the texts and referents to create new works.” Their impact transfor ...
Word doc - The Open University
... The theatrical historiography of the period is marred by a polarization between 'high' culture, represented by the Park and 'low' culture, represented by the Bowery. In Theatre Culture in America, 1825–1860, Rosemarie Bank examines art, class, and ethnicity as operational forces within the culture r ...
... The theatrical historiography of the period is marred by a polarization between 'high' culture, represented by the Park and 'low' culture, represented by the Bowery. In Theatre Culture in America, 1825–1860, Rosemarie Bank examines art, class, and ethnicity as operational forces within the culture r ...
learn more… - Citizens Theatre
... The experience of watching a play in the theatre in ancient Greece was very different from watching a play in a theatre today. Today you can go to the theatre almost any night of the week. In ancient Athens, plays were only performed during late winter and early spring. This may have been because of ...
... The experience of watching a play in the theatre in ancient Greece was very different from watching a play in a theatre today. Today you can go to the theatre almost any night of the week. In ancient Athens, plays were only performed during late winter and early spring. This may have been because of ...
PDF of entire volume, 53pp, 11.5MB
... narratives in Ovid, replied "Violence begets violence. Everyone is culpable. No one is innocent. The power of this human truth makes us uncomfortable" (Ue 2013:100). The play returns repeatedly to images of blood, which effectively join the ideas of violent sex, military violence, and the chain of v ...
... narratives in Ovid, replied "Violence begets violence. Everyone is culpable. No one is innocent. The power of this human truth makes us uncomfortable" (Ue 2013:100). The play returns repeatedly to images of blood, which effectively join the ideas of violent sex, military violence, and the chain of v ...
“The Origin of the European Mediaeval Drama”, International
... As a result, by the late tenth century we come across a Benedictine nun named Hrotsvitha of Gandersheim in Germany who was influenced by the dramas of Terence. “Hrotsvitha, […] had taken Terence as her model for half a dozen plays in Latin prose, designed to glorify chastity and to celebrate the con ...
... As a result, by the late tenth century we come across a Benedictine nun named Hrotsvitha of Gandersheim in Germany who was influenced by the dramas of Terence. “Hrotsvitha, […] had taken Terence as her model for half a dozen plays in Latin prose, designed to glorify chastity and to celebrate the con ...
Brno Studies in English Volume 36, No. 1, 2010 ISSN 0524
... In order to approach the level of the more-established Prague model, Švanda’s choice of translations may have been inspired by Prague theatres as in the case of Doucha’s translation of Richard III, which was produced at the Estates Theatre in Prague in 1854 and later on in Pilsen in 1866. Vendelín B ...
... In order to approach the level of the more-established Prague model, Švanda’s choice of translations may have been inspired by Prague theatres as in the case of Doucha’s translation of Richard III, which was produced at the Estates Theatre in Prague in 1854 and later on in Pilsen in 1866. Vendelín B ...
Brno Studies in English Volume 36, no. 1, 2010 iSSn 0524
... In order to approach the level of the more-established Prague model, Švanda’s choice of translations may have been inspired by Prague theatres as in the case of Doucha’s translation of Richard III, which was produced at the Estates Theatre in Prague in 1854 and later on in Pilsen in 1866. Vendelín B ...
... In order to approach the level of the more-established Prague model, Švanda’s choice of translations may have been inspired by Prague theatres as in the case of Doucha’s translation of Richard III, which was produced at the Estates Theatre in Prague in 1854 and later on in Pilsen in 1866. Vendelín B ...
137 Beckett`s Metatheatrical Philosophy: A postmodern Tendency
... Abel believes that "metatheatre at the very least, has added a word to the language with which we talk of theatre" (Abel, 2003, v). According to Oxford English Dictionary, the word 'meta' means besides, after or above, upon or about. Thus, metatheatre is a theatre about theatre. Abel tried to sugges ...
... Abel believes that "metatheatre at the very least, has added a word to the language with which we talk of theatre" (Abel, 2003, v). According to Oxford English Dictionary, the word 'meta' means besides, after or above, upon or about. Thus, metatheatre is a theatre about theatre. Abel tried to sugges ...
From Ritual Theory to Theorizing Rituals
... scientific method, the claim that tragedy and comedy developed from Dionysiac ritual was suggested at the beginning of the twentieth century, by a group of English scholars who published their major works around 1912-14, and are known by the collective name of the Cambridge School of Anthropology (C ...
... scientific method, the claim that tragedy and comedy developed from Dionysiac ritual was suggested at the beginning of the twentieth century, by a group of English scholars who published their major works around 1912-14, and are known by the collective name of the Cambridge School of Anthropology (C ...
Tragedy
![](https://commons.wikimedia.org/wiki/Special:FilePath/Dionysos_mask_Louvre_Myr347.jpg?width=300)
Tragedy (from the Greek: τραγῳδία, tragōidia) is a form of drama based on human suffering that invokes in its audience an accompanying catharsis or pleasure in the viewing. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—""the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity,"" as Raymond Williams puts it.From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, and Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, Müller's postmodernist reworkings of the tragic canon, and Joshua Oppenheimer's incorporation of tragic pathos in his nonfiction film, The Act of Killing, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the tragic form.In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general (where the tragic divides against epic and lyric) or at the scale of the drama (where tragedy is opposed to comedy). In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic, and epic theatre. Drama, in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-generic deterritorialization from the mid-19th century onwards. Both Bertolt Brecht and Augusto Boal define their epic theatre projects (non-Aristotelian drama and Theatre of the Oppressed respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation.