Rebel Women: Staging Ancient Greek Drama Today (Plays and Playwrights)

Rebel Women: Staging Ancient Greek Drama Today (Plays and Playwrights)

Language: English

Pages: 308

ISBN: B00L1ESU1A

Format: PDF / Kindle (mobi) / ePub


A collection of essays by many distinguished contributors, focused on the portrayal of rebel women in ancient Greek drama

Ancient
Greek drama provides the modern stage with a host of powerful female
characters who stand in opposition to the patriarchal structures that
seek to limit and define them. For contemporary theatre directors their
representation serves as a vehicle for examining and illuminating
issues of gender, power, family and morality, as germane today as when
the plays were first written.

Rebel Women brings together
essays by leading writers from across different disciplines examining
the representation of ancient Greek heroines in their original contexts
and on today's stage. Divided into three sections, it considers in turn
international productions, Irish versions, and studies of the original
texts. The articles explore how such characters as Iphigenia, Medea,
Antigone and Clytemnestra have been portrayed in recent times and the
challenges and provocation they offer to both contemporary audiences
and dramatists alike.

'Seamus Heaney and Athol Fugard are brought
together as contributors by the inspiration that ancient Greek tragedy
has offered to them both. There are offerings here on Iphigenia, Medea,
Antigone, Clytemnestra, film, drama, Greece, Russia ... and especially
Ireland. Amidst all this variety, the level of interest and of
scholarship are consistently high.' Oliver Taplin, Professor of
Classical Languages and Literature, Oxford University

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Performing Arts Journal 45 (1993): 1-28; F. Macintosh, P. Michelakis, E. Hall and O. Taplin (eds), Agamemnon in Performance 458 BC to 2004 AD (Oxford: OUP, 2005). 43. See Hall, 'Introduction', and Foley, 'Bad Women' in Hall et al. (eds), Dionysus since 69. 44. For further discussion see e.g. the essays in Anthony Bradley and Maryann Giulanella Valiulis (eds), Gender and Sexuality in Modern Ireland (Amherst: University of Massachusetts Press, 1997). 45. See Edna O'Brien, 'Iphigenia': Euripides,

have reason to dissatisfied'. 5 be The N a r k o m thought i t essential for the M A T t o unburden its art o f meticulous attention to detail. I n 1922, Jury Sobolev, a critic traditionally loyal to the M A T , still could not see any signs o f progress: A revolution occurred in Russia, it swept by in blizzards and storms . . . but the A r t Theatre remained just as it was under the pressure of the theatrical waves. It gave very few signs of its participation in revolutionary

Death other, fought w i t h sticks and bulls' bladders and struggled w i t h the w h i m s o f the set immediately brings t o m i n d the rich physical activity i n the battle o f the Lysistrata of Mayakovsky's Mystery Bouffe p r o d u c t i o n . The t w o versions (1918 and 19 21) were also an influential prototype. These productions had demonstrated that acting forms inspired f r o m popular entertainment could be used t o great effect i n performance. Mystery Bouffe adopting sharply

muzykalnom teatre; New York Times, 15 December and 17 October r925; American, 15 December 1925; Billboard, 26 December 1925; Journal of Commerce, 15 December 1925; The Sun, 15 December 1925; Chicago Tribune, 24 April 1926; unidentified reviews in 'Clippings, Lysistrata, Moscow Art Theatre Musical Studio Production', file on Lysistrata, New York Public Library for the Performing Arts, New York. 42. Gilbert W. Gabriel in The Sun, 15 December 1925. 43. Alan Dale, American, 15 December 1925. 44.

and the Hellenistic World, p. 206. 16. Cliodhna N i Anluain (ed.), Reading the Future: Irish Writers in Conversation with Mike Murphy (Dublin: Lilliput Press, 2000), p. 47. 17. Heidi Stephenson and Natasha Langridge (eds), Rage and Reason: Women Playwrights on Playwrighting (London: Methuen, 1997), p. 155. 18. Marina Carr, Marina Carr: Plays: One (London: Faber and Faber, 1999), p. 277. 19. Christopher Morash, 'Lever's Post-Famine Landscape', in T. Bareham (ed.), Charles Lever: New Evaluations

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