Agamemnon in performance 458 BC to AD 2004 by Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page,

By Fiona Macintosh, Visit Amazon's Pantelis Michelakis Page, search results, Learn about Author Central, Pantelis Michelakis, , Edith Hall, Oliver Taplin

Aeschylus' Agamemnon, the 1st play within the Oresteia trilogy, is without doubt one of the so much influential theatrical texts within the international canon. In functionality, translation, variation, in addition to sung and danced interpretations, it's been established within the Greek global and the Roman empire, and from the Renaissance to the modern degree. it's been crucial to the cultured and highbrow avant-garde in addition to to radical politics of all complexions and to feminist considering. participants to this interdisciplinary choice of eighteen essays on its functionality background comprise classical students, theatre historians, and specialists in English and comparative literature. All Greek and Latin has been translated; the publication is generously illustrated, and supplemented with the helpful study reduction of a chronological appendix of performances.

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11 Here the ekple¯xis belongs to the stage Wgure, but its eVect is presumably conveyed to the spectators. At Ajax 346 the text makes clear that a tableau is displayed showing Ajax among the slaughtered cattle. The scholion reads: An ekkukle¯ma is used here so that Ajax may be shown in the midst of cattle. For these things too bring the spectator to ekple¯xis, things that are more pathetic when they are actually seen. g. West (1990a), 189–90. 9 Taplin (1977), 304–5. 10 Schol. on Or. 57, with Taplin (1977), 76–7 and Falkner (2002), 359.

His antique sword, Rebellious to his arm, lies where it falls, Repugnant to command . . ’1 There are a number of reasons, diVerent but interrelated, why the impotence of Priam ‘[s]triking too short at Greeks’ serves me for an index to the quest this paper proposes to pursue. The Wrst is a general one. It seems to image a long-held axiom of English Renaissance scholarship that, when the playwrights wielded their antique sword, it struck too short at Greeks and lay where it fell, that is on Roman Seneca.

Its chronological and geographical spread, and its emphasis on the commercial stage as well as on education and on avant-garde theatre provide fascinating insights into the diverse contexts in which Graeco-Roman antiquity, and especially tragedy, has acquired its meanings. The volume seeks to address not only students of Graeco-Roman drama but all those interested in the encounter between classical antiquity and the modern world. As far as its disciplinary identity is concerned, the contributors are a diverse group in terms of age, gender, academic aYliation, and geographical base.

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