Betine van Zyl Smit's A Handbook to the Reception of Greek Drama PDF

By Betine van Zyl Smit

ISBN-10: 1118347757

ISBN-13: 9781118347751

A guide to the Reception of Greek Drama bargains a chain of unique essays that characterize a complete assessment of the worldwide reception of historic Greek tragedies and comedies from antiquity to the current day.

  • Represents the 1st quantity to provide an entire assessment of the reception of historical drama from antiquity to the present
  • Covers the interpretation, transmission, functionality, creation, and edition of Greek tragedy from the time the performs have been first created in historical Athens during the twenty first century
  • Features overviews of the background of the reception of Greek drama in such a lot international locations of the world
  • Includes chapters masking the reception of Greek drama in sleek opera and film

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Extra info for A Handbook to the Reception of Greek Drama

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4 Athenian comedy too was deeply invested in exploiting tragedy, its grand and brilliant rival, The Reception of Greek Tragedy, 500–323 BC 15 for its own purposes, in a quite aggressive and parasitical way. 5 Yet, even by the standard of this metric, Frogs is unusual, both in terms of the extent and the depth of comedy’s engagement with tragedy. Dionysus, the god of theater, and more generally of liminality and transgression, crosses the ultimate boundary, that which separates the living from the dead, in order to resurrect Euripides, with whose work he is infatuated.

Since the role of Macedon in the dissemination of tragedy was emphasized earlier on, it is worth recalling Aristotle’s very close links to the Macedonian court, especially in his role as tutor to the adolescent Alexander. Some of Aristotle’s exposure to tragedy, including theater performances, may well have occurred in Macedon. See Chapter 7 in this volume for its role in Renaissance Italy. Halliwell’s extensive work on the Poetics is foundational, especially Halliwell (1998). Heath (2009) similarly stands out.

There is a stark contrast here with artifacts related to comedy, which tend to signal that relationship quite overtly (by way of masks, costumes, stages, labels, sometimes even text which would seem to be part of the performance script). e. Southern Italy and Sicily (where Greeks had settled since the eighth century BC). Those two challenges are, of course, inter‐connected 20 Martin Revermann in that the problem of “cues” (challenge 1) will greatly affect the number of artifacts considered to be theater‐related from Athens and Western Greece ­ (challenge 2).

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A Handbook to the Reception of Greek Drama by Betine van Zyl Smit

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