This book offers a new, accurate and actable translation of one of Euripides' most popular plays, together with a commentary which provides insight into the challenges it sets for production and suggestions for how to solve them. The introduction discusses the social and cultural context of the play and its likely impact on the original audience, the way in which it was originally performed, the challenges which the lead roles present today and Medea's implications for the modern audience. The text of the translation is followed by the 'Theatrical Commentary' section on the issues involved in staging each scene and chorus today, embodying insights gained from a professional production. Notes on the translation, a glossary of names, suggestions for further reading and a chronology of Euripides' life and times round out the volume. The book is intended for use by theatre practitioners who wish to stage or workshop Medea and by students both of drama, theatre and performance and of classical studies.

This book offers a new, accurate and actable translation of one of Euripides' most popular plays, together with a commentary which provides insight into the challenges it sets for production and suggestions for how to solve them. The introduction discusses the social and cultural context of the play and its likely impact on the original audience, the way in which it was originally performed, the challenges which the lead roles present today and Medea's implications for the modern audience. The text of the translation is followed by the 'Theatrical Commentary' section on the issues involved in staging each scene and chorus today, embodying insights gained from a professional production. Notes on the translation, a glossary of names, suggestions for further reading and a chronology of Euripides' life and times round out the volume. The book is intended for use by theatre practitioners who wish to stage or workshop Medea and by students both of drama, theatre and performance and of classical studies.

Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. These range from Monteverdi's Il ritorno d'Ulisse in patria, drawn from Homer's Odyssey, to Mark-Antony Turnage's Greek, based on Sophocles's Oedipus the King. Choices have been based on an understanding that the relationship between each of the operas and their Greek source texts raise significant issues, involving an examination of the process by which the librettist creates a new text for the opera, and the crucial insights into the nature of the drama that are bestowed by the composer's musical setting. Ewans examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera.

Drawing together contributions from scholars in a wide range of fields inside Classics and Drama, this volume traces the development of comedic performance and examines the different characteristics of Greek and Roman comedy. Although the origins of comedy are obscure, this study argues that comedic performances were at the heart of Graeco-Roman culture from around 486 BCE to the mid first century BCE. It explores the range of comedies during this period, which were fictional dramas that engaged with the political and social concerns of ancient society, and also at times with mythology and tragedy. The volume centres largely around the surviving work of Aristophanes and Menander in Athens, and Plautus and Terence in Rome, but authors whose plays survive only in fragments are also discussed. Performances and plays drew on a range of forms, including satire and fantasy, and were designed to entertain and amuse their audiences while also asking them to question issues of morality, privilege and class. Each chapter takes a different theme as its focus: form, theory, praxis, identities, the body, politics and power, laughter and ethics. These eight different approaches to ancient comedy add up to an extensive, synoptic coverage of the subject.

Michael Ewans explores how classical Greek tragedy and epic poetry have been appropriated in opera, through eight selected case studies. These range from Monteverdi's Il ritorno d'Ulisse in patria, drawn from Homer's Odyssey, to Mark-Antony Turnage's Greek, based on Sophocles's Oedipus the King. Choices have been based on an understanding that the relationship between each of the operas and their Greek source texts raise significant issues, involving an examination of the process by which the librettist creates a new text for the opera, and the crucial insights into the nature of the drama that are bestowed by the composer's musical setting. Ewans examines the issues through a comparative analysis of significant divergences of plot, character and dramatic strategy between source text, libretto and opera.

Merging the theoretical framework with the practical elements of staging an ancient Greek play, this indispensable guide offers directors and actors an excellent starting point for mounting their production. Considering the conditions of ancient Greek performance and the conventions of the Greek theatre, the book examines large questions, including those related to ancient Greek values, myth and the individual (‘characterization’), and the gods and fate – all of which must be taken into consideration when approaching a contemporary production. This practical guide also explores with analysed examples, the issues that today's theatre-makers should consider in order to successfully stage ancient Greek drama. These topics include: - choice of translation - setting - costumes - masks - mode of delivery - acting style for both tragedy and comedy - handling of the chorus - solutions to staging Greek drama

Merging the theoretical framework with the practical elements of staging an ancient Greek play, this indispensable guide offers directors and actors an excellent starting point for mounting their production. Considering the conditions of ancient Greek performance and the conventions of the Greek theatre, the book examines large questions, including those related to ancient Greek values, myth and the individual (‘characterization’), and the gods and fate – all of which must be taken into consideration when approaching a contemporary production. This practical guide also explores with analysed examples, the issues that today's theatre-makers should consider in order to successfully stage ancient Greek drama. These topics include: - choice of translation - setting - costumes - masks - mode of delivery - acting style for both tragedy and comedy - handling of the chorus - solutions to staging Greek drama

Most readers nowadays encounter the plays of Aristophanes in the classroom, not the theater. Yet the "father of comedy" wrote his plays for the stage, not as literary texts. Many English translations of the plays were written decades ago, and in their outdated language they fail to capture the dramatic liveliness of the original comedies. Now Michael Ewans offers new and lively translations of three of Aristophanes' finest plays: "Lysistrata, The Women's Festival, and Frogs." While remaining faithful to the original Greek, these translations are accessible to a modern audience--and actable on stage.

Here readers will discover--in all its uncensored glory--the often raw sexual and scatological language Aristophanes used in his fantastically inventive works. This edition also contains all that a reader needs to understand the plays within a broader context. In his comprehensive introduction, Ewans discusses political and social aspects of Aristophanic comedy, the conventions of Greek theater, and the challenges of translating ancient Greek into modern English. In his theatrical commentaries--a unique feature of this edition--Ewans draws on his own experience of directing the plays in a replica of the original theater. In scene-by-scene analysis, he provides insight into the major issues each play raises in performance. The volume concludes with two glossaries--one of proper names and the other of Greek terms--as well as a bibliography that includes the most recent scholarship on Aristophanic comedy.

In Performing Opera: A Practical Guide for Singers and Directors Michael Ewans provides a detailed and practical workbook to performing many of the most commonly produced operas. Drawing on examples from twenty-four operas ranging in period from Gluck and Mozart to Britten and Tippett, it illustrates exactly how opera functions as dramatic form. Grounded in close analyses of performances of thirty scenes and five whole operas by first-rate singers and celebrated directors, Performing Opera provides readers with an appreciation of the unique challenges and skills required by performers and directors. It will assist them in their own performance and equip them with detailed knowledge of works most commonly featured in the repertoire. In the first part of the book the analysis progresses from scenes in which the singers are silent, via arias and monologues, duets and confrontations, up to ensembles. Wider issues are subsequently addressed: encounters with offstage events, encounters with the numinous, characterization, and the sense of inevitability in tragic opera.

Most readers nowadays encounter the plays of Aristophanes in the classroom, not the theater. Yet the ""father of comedy"" wrote his plays for the stage, not as literary texts. Many English translations of the plays were written decades ago, and in their outdated language they fail to capture the dramatic liveliness of the original comedies. Here Michael Ewans offers new and lively translations of three of Aristophanes' earliest surviving plays: Acharnians, Knights, and Peace. While remaining faithful to the original Greek, Ewans's translations are accessible to a modern audience - and actable on stage. The first two plays in this volume, Acharnians and Knights, satirize the Athenians for their madness in continuing the Peloponnesian War. The third play, Peace, celebrates the end to all the warmongering. This edition contains all that a reader needs to understand these plays within a broader context. In his comprehensive introduction, Ewans discusses historical, political, and social aspects of Aristophanic comedy, the conventions of Greek theater, and the challenges of translating ancient Greek into modern English. In his theatrical commentaries, Ewans draws on his own experience of directing the plays in a replica of the original theater. In sceneby-scene analysis, he provides insight into the major issues each play raises in performance. The volume concludes with two glossaries - one of proper names and the other of Greek terms - as well as a bibliography that includes the most recent scholarship on Aristophanic comedy. With its accessible format and design, this book serves as a fitting companion to Ewans's recently published edition of Aristophanes' Lysistrata, The Women's Festival, and Frogs.

In 1847 Wagner read the Oresteian trilogy, the finest surviving work by Aeschylus. The impact on him of Aeschylus' work, at this crucial time in his development, changed Wagner's entire vision of his own role as an artist. As he wrote in his autobiography: 'I could actually see the Oresteia with my mind's eye, as though it were actually being performed and its effect on me was indescribable. ... My ideas about the significance of drama and of the theatre were, without a doubt, moulded by these impressions ...' Wagner and Aeschylus examines the role that the Oresteia played in the shaping of the Ring, showing how Aeschylus' masterpiece influenced Wagner's at many levels, from the basic idea of using mythical material for a cycle of 'stage festival dramas' right through to profound aspects of subject matter and form and Wagner's conception of the role of music in opera. Two introductory chapters look at the overall relationship between Wagner and Aeschylus; there follows an analysis of the four dramas of the Ring: the points of affinity and the differences, between Wagner's cycle and Aeschylus' are discussed in detail, an approach which throws fresh light on the form and meaning of the Ring.

In 1847 Wagner read the Oresteian trilogy, the finest surviving work by Aeschylus. The impact on him of Aeschylus' work, at this crucial time in his development, changed Wagner's entire vision of his own role as an artist. As he wrote in his autobiography: 'I could actually see the Oresteia with my mind's eye, as though it were actually being performed and its effect on me was indescribable. ... My ideas about the significance of drama and of the theatre were, without a doubt, moulded by these impressions ...' Wagner and Aeschylus examines the role that the Oresteia played in the shaping of the Ring, showing how Aeschylus' masterpiece influenced Wagner's at many levels, from the basic idea of using mythical material for a cycle of 'stage festival dramas' right through to profound aspects of subject matter and form and Wagner's conception of the role of music in opera. Two introductory chapters look at the overall relationship between Wagner and Aeschylus; there follows an analysis of the four dramas of the Ring: the points of affinity and the differences, between Wagner's cycle and Aeschylus' are discussed in detail, an approach which throws fresh light on the form and meaning of the Ring.