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This volume includes major theoretical writings on drama from the
Greeks, through the Renaissance up to the late seventeenth century,
compiled and edited for students of drama and theatre. There are
substantial extracts from twenty-eight writers including Plato,
Aristotle, Horace, Scaliger, Castelvetro, Guarini, Sidney, Jonson,
Corneille, Racine, Dryden and Congreve. The compilers have chosen
writers who present detailed arguments about issues that are sill
relevant to our understanding of drama and theatre. Many of the
texts have been freshly translated and all have newly been
annotated and introduced by the compilers, who draw attention to
recurrent themes by a system of cross-references. Michael Sidnell's
useful introduction explores the issues which frequently concern
these writers and practitioners: the nature of imitation, the
relation of dramatic text to live performance, the effect of stage
action on audience emotion and behaviour - issues which still
concern critics and theorists of drama today. Later volumes will
cover the period from Diderot to Victor Hugo, modern dramatic
theory and performance theory.
This volume complements D.J. Conacher's two earlier studies of
Aeschylus, Aeschylus' 'Prometheus Bound' (1980) and Aeschylus'
'Oresteia' (1987), and completes his literary commentary on the
extant plays of Aeschylus. In this volume Conacher provides a
detailed running commentary on the three earlier plays (The
Persians, The Seven against Thebes, and The Suppliants), as well as
an analysis of their themes, structure and dramatic techniques and
devices. In two more general studies he reviews Aeschylus' dramatic
uses of the chorus and of imagery. Conacher's close readings of the
text and sensitive analysis of the main problems in the plays will
be of benefit to students, especially those encountering these
plays for the first time, either in Greek or in translation. He
also provides a thorough overview of the various interpretative and
philological problems and opinions encountered in Aeschylean
scholarship, which will be of interest to senior scholars as well
as students.
This volume includes major theoretical writings on drama from the
Greeks, through the Renaissance up to the late seventeenth century,
compiled and edited for students of drama and theatre. There are
substantial extracts from twenty-eight writers including Plato,
Aristotle, Horace, Scaliger, Castelvetro, Guarini, Sidney, Jonson,
Corneille, Racine, Dryden and Congreve. The compilers have chosen
writers who present detailed arguments about issues that are sill
relevant to our understanding of drama and theatre. Many of the
texts have been freshly translated and all have newly been
annotated and introduced by the compilers, who draw attention to
recurrent themes by a system of cross-references. Michael Sidnell's
useful introduction explores the issues which frequently concern
these writers and practitioners: the nature of imitation, the
relation of dramatic text to live performance, the effect of stage
action on audience emotion and behaviour - issues which still
concern critics and theorists of drama today. Later volumes will
cover the period from Diderot to Victor Hugo, modern dramatic
theory and performance theory.
This work describes how Euripides provides, in specific plays, a
variety of original treatments of well-known views of his
contemporaries, the Sophists. The emphasis is on Euripides as the
creative virtuoso of dramatic ideas rather than as a philosopher.
Euripides' adaptation covers a range of dramatic styles and
approaches, from the tragic treatment of the nature in
"Hippolytus," to the near parody of Sophistic views on
sense-perception in "Helen."
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