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Theatre was at the very heart of culture in Graeco-Roman
civilizations and its influence permeated across social and class
boundaries. The theatrical genres of tragedy, comedy, satyr play,
mime and pantomime operate in Antiquity alongside the conception of
theatre as both an entertainment for the masses and a vehicle for
intellectual, political and artistic expression. Drawing together
contributions from scholars in classics and theatre studies, this
volume uniquely examines the Greek and Roman cultural spheres in
conjunction with one another rather than in isolation. Each chapter
takes a different theme as its focus: institutional frameworks;
social functions; sexuality and gender; the environment of theatre;
circulation; interpretations; communities of production; repertoire
and genres; technologies of performance; and knowledge
transmission.
Beyond the Fifth Century brings together 13 scholars from various
disciplines (Classics, Ancient History, Mediaeval Studies) to
explore interactions with Greek tragedy from the 4th century BCE up
to the Middle Ages. The volume breaks new ground in several ways.
Its chronological scope encompasses periods that are not usually
part of research on tragedy reception, especially the Hellenistic
period, late antiquity and the Middle Ages. The volume also
considers not just performance reception but various other modes of
reception, between different literary genres and media
(inscriptions, vase paintings, recording technology). There is a
pervasive interest in interactions between tragedy and
society-at-large, such as festival culture and entertainment (both
public and private), education, religious practice, even
life-style. Finally, the volume features studies of a comparative
nature which focus less on genealogical connections (although such
may be present) but rather on the study of equivalences.
Beyond the Fifth Century brings together 13 scholars from various
disciplines (Classics, Ancient History, Mediaeval Studies) to
explore interactions with Greek tragedy from the 4th century BCE up
to the Middle Ages. The volume breaks new ground in several ways.
Its chronological scope encompasses periods that are not usually
part of research on tragedy reception, especially the Hellenistic
period, late antiquity and the Middle Ages. The volume also
considers not just performance reception but various other modes of
reception, between different literary genres and media
(inscriptions, vase paintings, recording technology). There is a
pervasive interest in interactions between tragedy and
society-at-large, such as festival culture and entertainment (both
public and private), education, religious practice, even
life-style. Finally, the volume features studies of a comparative
nature which focus less on genealogical connections (although such
may be present) but rather on the study of equivalences.
This wide-ranging, detailed and engaging study of Brecht's complex
relationship with Greek tragedy and tragic tradition argues that
this is fundamental for understanding his radicalism. Featuring an
extensive discussion of The Antigone of Sophocles (1948) and
further related works (the Antigone model book and the Small
Organon for the Theatre), this monograph includes the first-ever
publication of the complete set of colour photographs taken by Ruth
Berlau. This is complemented by comparatist explorations of many of
Brecht's own plays as his experiments with tragedy conceptualized
as the 'big form'. The significance for Brecht of the Greek tragic
tradition is positioned in relation to other formative influences
on his work (Asian theatre, Naturalism, comedy, Schiller and
Shakespeare). Brecht emerges as a theatre artist of enormous range
and creativity, who has succeeded in re-shaping and re-energizing
tragedy and has carved paths for its continued artistic and
political relevance.
This wide-ranging, detailed and engaging study of Brecht's complex
relationship with Greek tragedy and tragic tradition argues that
this is fundamental for understanding his radicalism. Featuring an
extensive discussion of The Antigone of Sophocles (1948) and
further related works (the Antigone model book and the Small
Organon for the Theatre), this monograph includes the first-ever
publication of the complete set of colour photographs taken by Ruth
Berlau. This is complemented by comparatist explorations of many of
Brecht's own plays as his experiments with tragedy conceptualized
as the 'big form'. The significance for Brecht of the Greek tragic
tradition is positioned in relation to other formative influences
on his work (Asian theatre, Naturalism, comedy, Schiller and
Shakespeare). Brecht emerges as a theatre artist of enormous range
and creativity, who has succeeded in re-shaping and re-energizing
tragedy and has carved paths for its continued artistic and
political relevance.
Greek comedy flourished in the fifth and fourth centuries BC, both
in and beyond Athens. Aristophanes and Menander are the best-known
writers whose work is in part extant, but many other dramatists are
known from surviving fragments of their plays. This sophisticated
but accessible introduction explores the genre as a whole,
integrating literary questions (such as characterisation, dramatic
technique or diction) with contextual ones (for example audience
response, festival context, interface with ritual or political
frames). In addition, it also discusses relevant historical issues
(political, socio-economic and legal) as well as the artistic and
archaeological evidence. The result provides a unique panorama of
this challenging area of Greek literature which will be of help to
students at all levels and from a variety of disciplines but will
also provide stimulus for further research.
Greek comedy flourished in the fifth and fourth centuries BC, both
in and beyond Athens. Aristophanes and Menander are the best-known
writers whose work is in part extant, but many other dramatists are
known from surviving fragments of their plays. This sophisticated
but accessible introduction explores the genre as a whole,
integrating literary questions (such as characterisation, dramatic
technique or diction) with contextual ones (for example audience
response, festival context, interface with ritual or political
frames). In addition, it also discusses relevant historical issues
(political, socio-economic and legal) as well as the artistic and
archaeological evidence. The result provides a unique panorama of
this challenging area of Greek literature which will be of help to
students at all levels and from a variety of disciplines but will
also provide stimulus for further research.
Theatre was at the very heart of culture in Graeco-Roman
civilizations and its influence permeated across social and class
boundaries. The theatrical genres of tragedy, comedy, satyr play,
mime and pantomime operate in Antiquity alongside the conception of
theatre as both an entertainment for the masses and a vehicle for
intellectual, political and artistic expression. Drawing together
contributions from scholars in classics and theatre studies, this
volume uniquely examines the Greek and Roman cultural spheres in
conjunction with one another rather than in isolation. Each chapter
takes a different theme as its focus: institutional frameworks;
social functions; sexuality and gender; the environment of theatre;
circulation; interpretations; communities of production; repertoire
and genres; technologies of performance; and knowledge
transmission.
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