Agamemnon in Performance

458 BC to Ad 2004
Erscheinungsjahr 2005
ISBN: 978-0-19-926351-6
Verlag: OUP Oxford

Buch, Englisch, 502 Seiten, Format (B × H): 161 mm x 240 mm, Gewicht: 1018 g

Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon. In performance, translation, adaptation, along with sung and danced interpretations, it has been familiar in the Greek world and the Roman empire, and from the Renaissance to the contemporary stage. It has been central to the aesthetic and intellectual avant-garde as well as to radical politics of all complexions and to feminist thinking. Contributors to this interdisciplinary collection of eighteen essays on its performance history include classical scholars, theatre historians, and experts in English and comparative literature. All Greek and Latin has been translated; the book is generously illustrated, and supplemented with the useful research aid of a chronological appendix of performances.

Zielgruppe

Scholars and students of the classics, English literature, comparative literature, theatre studies, translation studies, and cultural history.

Autoren/Hrsg.

Macintosh, Fiona

Michelakis, Pantelis

Hall, Edith

Taplin, Oliver

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatersoziologie, Theaterpsychologie
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatertheorie, Ästhetik des Theaters, Theaterkritik
• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Theaterwissenschaft Theatergeschichte

Inhaltsverzeichnis

- Introduction

- 1: Pantelis Michelakis: Agamemnons in performance

- I. In Search of the Sources

- 2: Pat Easterling: `Agamemnon' for the ancients

- 3: Inga-Stina Ewbank: `Striking too short at Greeks': the transmission of `Agamemnon' to the English Renaissance stage

- 4: Edith Hall: Clytemnestra versus her Senecan tradition

- 5: Susanna Phillipo: Clytemnestra's ghost: the Aeschylean legacy in Gluck's Iphigenia operas

- II. The Move to Modernity

- 6: Michael Ewans: `Agamemnon''s influence in Germany: Goethe, Schiller, and Wagner

- 7: Margaret Reynolds: Agamemnon: speaking the unspeakable

- 8: Fiona Macintosh: Viewing `Agamemnon' in 19th-century Britain

- 9: Yopie Prins: OTOTOTOI: Virginia Woolf and `the naked cry' of Cassandra

- III. The Languages of Translation

- 10: J. Michael Walton: Translation or transubstantiation

- 11: Lorna Hardwick: Staging `Agamemnon': the languages of translation

- 12: Massimo Fusillo: Pasolini's `Agamemnon': translation, screen version, performance

- 13: Oliver Taplin: The Harrison version: `so long ago that it's become a song?'

- IV. The International View

- 14: Dimitry Trubotchkin: `Agamemnon' in Russia

- 15: Pierre Judet de la Combe: Ariane Mnouchkine and the history of the French `Agamemnon'

- 16: Anton Bierl: The chorus of Aeschylus' `Agamemnon' in modern stage productions: towards the `performative turn'

- 17: Helene Foley: The Millennium Project: `Agamemnon' in the United States

- Epilogue

- 18: Rush Rehm: Cassandra: the prophet unveiled

- Appendix

- 19: Amanda Wrigley: `Agamemnons' on the database

Über Autor(innen)

Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama, University of Oxford.

Pantelis Michelakis is Lecturer in Classics, University of Bristol, and Honorary Fellow, Archive of Performances of Greek and Roman Drama, University of Oxford.

Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham, and Co-Director of the Archive of Performances of Greek and Roman Drama, University of Oxford.

Oliver Taplin is Professor of Classical Languages and Literature at the University of Oxford, and Fellow of the British Academy.