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In Stagecraft in Euripides, first published in 1985, Professor
Michael Halleran examines certain aspects of the dramaturgy of the
most extensively preserved Attic tragedian. Although the ancient
dramatic texts do not contain performance directions, they do imply
stage actions. This work explores the ways Euripides utilises the
latter to make a point: to underline some issue, to suggest a
contrast, or to shift the focus of the drama. Specifically,
Halleran investigates the rearrangement of characters on stage at
the major structural junctures of the play: entrances and their
announcements; preparation for and surprise in entrances; and
dramatic connections between exits and entrances. Three plays from
the same era - Herakles, Trojan Women and Ion - are discussed in
greater detail to reveal the potential of this approach for
illuminating Euripides' 'grammar of dramatic technique'. Stagecraft
in Euripides will thus appeal to students of theatre and drama as
well as classicists.
In Stagecraft in Euripides, first published in 1985, Professor
Michael Halleran examines certain aspects of the dramaturgy of the
most extensively preserved Attic tragedian. Although the ancient
dramatic texts do not contain performance directions, they do imply
stage actions. This work explores the ways Euripides utilises the
latter to make a point: to underline some issue, to suggest a
contrast, or to shift the focus of the drama. Specifically,
Halleran investigates the rearrangement of characters on stage at
the major structural junctures of the play: entrances and their
announcements; preparation for and surprise in entrances; and
dramatic connections between exits and entrances. Three plays from
the same era - Herakles, Trojan Women and Ion - are discussed in
greater detail to reveal the potential of this approach for
illuminating Euripides' 'grammar of dramatic technique'. Stagecraft
in Euripides will thus appeal to students of theatre and drama as
well as classicists.
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