DIONYSUS SINCE 69: GREEK TRAGEDY AT THE DAWN OF THE THIRD MILLENNIUM; ED. BY EDITH HALL

Greek tragedy is currently being performed more frequently than at any time since classical antiquity. This book is the first to address the fundamental question, why has there been so much Greek tragedy in the theatres, opera houses and cinemas of the last three decades? A detailed chronological appendix of production information and lavish illustrations supplement the fourteen essays by an interdisciplinary team of specialists from the worlds of classics, theatre studies, and the professional theatre. They relate the recent appeal of Greek tragedy to social trends, political developments, aesthetic and performative developments, and the intellectual currents of the last three decades, especially multiculturalism, post-colonialism, feminism, post-structuralism, revisions of psychoanalytical models, and secularization. Contents......Page 8 List of Illustrations......Page 10 List of Contributors......Page 14 Lectures at the Archive of Performances of Greek and Roman Drama 1997–2002......Page 18 Note on Nomenclature, Spelling, and Texts......Page 20 1. Introduction: Why Greek Tragedy in the Late Twentieth Century?......Page 22 SECTION I: Dionysus and the Sex War......Page 68 2. Dionysus in 69......Page 70 3. Bad Women: Gender Politics in Late Twentieth-Century Performance and Revision of Greek Tragedy......Page 98 4. Heracles as Dr Strangelove and GI Joe: Male Heroism Deconstructed......Page 134 SECTION II: Dionysus in Politics......Page 164 5. Sophocles’ Philoctetes, Seamus Heaney’s, and Some Other Recent Half-Rhymes......Page 166 6. Aeschylus, Race, Class, and War in the 1990s......Page 190 7. Greek Tragedy in Cinema: Theatre, Politics, History......Page 220 8. Greek Drama and Anti-Colonialism: Decolonizing Classics......Page 240 SECTION III: Dionysus and the Aesthetics of Performance......Page 264 9. The Use of Masks in Modern Performances of Greek Drama......Page 266 10. Greek Notes in Samuel Beckett’s Theatre Art......Page 286 11. Greek Tragedy in the Opera House and Concert Hall of the Late Twentieth Century......Page 306 SECTION IV: Dionysus and the Life of the Mind......Page 332 12. Oedipus in the East End: from Freud to Berkoff......Page 334 13. Thinking about the Origins of Theatre in the 1970s......Page 350 14. The Voices We Hear......Page 382 15. Details of Productions Discussed......Page 390 References......Page 440 A......Page 466 B......Page 468 C......Page 471 D......Page 474 E......Page 475 F......Page 476 G......Page 477 H......Page 478 J......Page 481 L......Page 482 M......Page 484 N......Page 486 O......Page 488 P......Page 489 R......Page 492 S......Page 493 T......Page 496 V......Page 498 W......Page 499 Y......Page 500 Z......Page 501 ISBN-13 : 9780199281312 Contents 8 List of Illustrations 10 List of Contributors 14 Lectures at the Archive of Performances of Greek and Roman Drama 1997–2002 18 Note on Nomenclature, Spelling, and Texts 20 1. Introduction: Why Greek Tragedy in the Late Twentieth Century? 22 SECTION I: Dionysus and the Sex War 68 2. Dionysus in 69 70 3. Bad Women: Gender Politics in Late Twentieth-Century Performance and Revision of Greek Tragedy 98 4. Heracles as Dr Strangelove and GI Joe: Male Heroism Deconstructed 134 SECTION II: Dionysus in Politics 164 5. Sophocles’ Philoctetes, Seamus Heaney’s, and Some Other Recent Half-Rhymes 166 6. Aeschylus, Race, Class, and War in the 1990s 190 7. Greek Tragedy in Cinema: Theatre, Politics, History 220 8. Greek Drama and Anti-Colonialism: Decolonizing Classics 240 SECTION III: Dionysus and the Aesthetics of Performance 264 9. The Use of Masks in Modern Performances of Greek Drama 266 10. Greek Notes in Samuel Beckett’s Theatre Art 286 11. Greek Tragedy in the Opera House and Concert Hall of the Late Twentieth Century 306 SECTION IV: Dionysus and the Life of the Mind 332 12. Oedipus in the East End: from Freud to Berkoff 334 13. Thinking about the Origins of Theatre in the 1970s 350 14. The Voices We Hear 382 15. Details of Productions Discussed 390 References 440 Index 466 A 466 B 468 C 471 D 474 E 475 F 476 G 477 H 478 I 481 J 481 K 482 L 482 M 484 N 486 O 488 P 489 Q 492 R 492 S 493 T 496 U 498 V 498 W 499 X 500 Y 500 Z 501 # Publisher: Oxford University Press,USA # Number Of Pages: 498 # Publication Date: 2005-03-10 Introduction : Why Greek Tragedy In The Late Twentiethe Century? / Etith Hall -- Dionysus In 69 / Froma I. Zeitlin -- Bad Women : Gender Politics In Late Twentieth-century Performance And Revision Of Greek Tragedy / Helene Foley -- Heracles As Dr Strangelove And Gi Joe : Male Heroism Deconstructed / Kathleen Riley -- Sophocles' Philoctetes, Seamus Heaney's, And Some Other Recent Half-rhymes / Oliver Taplin -- Aeschylus, Race, Class, And War In The 1990s / Edith Hall -- Greek Tragedy In Cinema : Theatre, Politics, History / Pantelis Michelakis -- Greek Drama And Anti-colonialism : Decolonizing Classics / Lorna Hardwick -- The Use Of Masks In Modern Performances Of Greek Drama / David Wiles -- Greek Notes In Samuel Beckett's Theatre Art / Katharine Worth -- Greek Tragedy In The Opera House And Concert Hall Of The Late Twentieth Century / Peter Brown -- Oedipus In The East End : From Freud To Berkoff / Fiona Macintosh -- Thinking About The Origins Of Theatre In The 1970s / Erika Fischer-lichte -- The Voices We Hear / Timberlake Wertenbaker -- Details Of Production Discussed / Amanda Wrigley. Edited By Edith Hall, Fiona Macintosh, And Amanda Wrigley. 'list Of Contributors' : P. [xiii]-xvi. Includes Bibliography (p. [419]-444) And Index (p. [445]-480).

greek Tragedy Is Currently Being Performed More Frequently Than At Any Time Since Classical Antiquity. This Lavishly Illustrated Book Is The First Attempt Fully To Document And Explain Its Revival. It Assembles Fourteen Essays By Specialists From Classics, Theater Studies, And The Professional Theater, Who Relate The Recent Production History Of Greek Tragedy To Social And Academic Trends.

The 14 essays in this text, from an interdisciplinary team, relate the recent appeal of Greek tragedy to social trends, political developments, aesthetic and performative developments, and the intellectual currents of the last three decades By May 1968 the President and the administration of the most powerful state in the world found themselves in an unprecedented crisis.