Greek Tragedy and Modernist Performance最新文献

Afterword: (No) More Masterpieces 后记:(没有)更多的杰作

Greek Tragedy and Modernist Performance Pub Date : 2021-04-13 DOI: 10.3366/edinburgh/9781474415569.003.0006

Olga Taxidou

引用次数: 0

Epic, Tragic, Dramatic Theatre and the Brechtian Project 史诗，悲剧，戏剧和布莱希特计划

Greek Tragedy and Modernist Performance Pub Date : 2021-04-13 DOI: 10.3366/edinburgh/9781474415569.003.0005

Olga Taxidou

{"title":"Epic, Tragic, Dramatic Theatre and the Brechtian Project","authors":"Olga Taxidou","doi":"10.3366/edinburgh/9781474415569.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474415569.003.0005","url":null,"abstract":"This chapter questions the notion that Brecht’s Epic theatre is constructed solely in opposition to the Greek model of tragedy. In line with more recent and nuanced readings of the relationships between tragedy and epic, it presents Brecht’s attacks on what he perceived as Greek tragedy, through his well-documented mis-readings of Aristotelianism, as part of the modernist attempt to reclaim epic as a potentially radical form (Eisenstein), at once popular (oral, medieval etc) and modernist (montage, non-linear, stylised). Brecht’s project in this context is read as parallel to recent attempts to reclaim the epic tradition for performance. Through the work of Walter Benjamin on Brecht parallels are drawn between the Sage, the Rhapsode and the Epic Performer. Again, as throughout this book, Plato appears as a performance theorist rather than Aristotle. Through a fantastic dialogue between Brecht’s Epic Mothers and tragedy’s consummate mother, Medea, parallels are drawn between the tragic and the epic protagonist, and between the categories of tragic, epic, dramatic and post-dramatic theatre, creating a genealogy for the notion of post-dramatic theatre in Greek tragedy itself. These ideas come together in a close reading of another epic/tragic anti-mother, Antigone, in Brecht’s first of his famous models of epic theatre, The Antigone-Model.","PeriodicalId":355464,"journal":{"name":"Greek Tragedy and Modernist Performance","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126509613","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Isadora Duncan, Edward Gordon Craig and the Dream of an Impossible Theatre 伊莎多拉·邓肯，爱德华·戈登·克雷格和《不可能的剧院之梦》

Greek Tragedy and Modernist Performance Pub Date : 2021-04-13 DOI: 10.3366/edinburgh/9781474415569.003.0002

Olga Taxidou

引用次数: 0

Poetic Drama: Theatricality, Performability and Translation 诗剧:戏剧性、可表演性与翻译

Greek Tragedy and Modernist Performance Pub Date : 2021-04-13 DOI: 10.3366/edinburgh/9781474415569.003.0003

Olga Taxidou

引用次数: 0

Introduction: ‘What’s Hecuba to him, or he to Hecuba?’ 引言:赫库巴对他来说是什么，或者他对赫库巴来说是什么?”

Greek Tragedy and Modernist Performance Pub Date : 2021-04-13 DOI: 10.3366/edinburgh/9781474415569.003.0001

Olga Taxidou

{"title":"Introduction: ‘What’s Hecuba to him, or he to Hecuba?’","authors":"Olga Taxidou","doi":"10.3366/edinburgh/9781474415569.003.0001","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474415569.003.0001","url":null,"abstract":"This chapter introduces the main arguments of the book and creates a broad framework, outlining its theoretical and methodological approaches. Taking its cue from Craig’s woodcut of Hecuba that features on the cover, it presents engagements with Greek tragedy that were not necessarily text-based or resulted in specific productions of plays. Rather, in ways that mirror both Hamlet’s and Craig’s quoting of Hecuba, it sets out to explore the kinds of experiments in performance that were facilitated, embodied, experienced and experimented with by such recourse and remobilisation of Greek tragedy. Sometimes these experiments reached performance and were successful, but usually they were failures – creative, constructive failures but failures nonetheless, all enacted through quotation and repetition of notions of Hellenism. It presents a summary of the chapters that follow and the ways that the term Hellenism itself is re-worked through these modernist experiments in performance, as embodied, hybrid, geopolitically international, and not necessarily ‘classical’ in the strict philological sense. It presents the modernist encounter with Greek tragedy as rehearsing the ancient quarrel between poetry and philosophy, especially when redefining the ethico-political aspects of theatricality and spectatorship, and stresses the Platonic aspects of much modernist theorization and experimentation in performance.","PeriodicalId":355464,"journal":{"name":"Greek Tragedy and Modernist Performance","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130297759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0