In the theatre of Dionysos: Democracy and tragedy in ancient Athens
"Describes parallel lives of Athenian democracy and Athenian tragedy--how and why they concurrently arose, blossomed and died, shaped especially by a fatal Athenian penchant for war. Demonstrates how drama emerged from four unique elements in Greek culture: bardic poetry; open sporting competit...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Jefferson, NC [u.a.]
McFarland
2007
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Describes parallel lives of Athenian democracy and Athenian tragedy--how and why they concurrently arose, blossomed and died, shaped especially by a fatal Athenian penchant for war. Demonstrates how drama emerged from four unique elements in Greek culture: bardic poetry; open sporting competition; uncodified religion; and exploratory philosophy. Imagines evolution of the tragic genre from practitioner's viewpoint"--Provided by publisher. |
| Beschreibung: | IX, 205 S. |
| ISBN: | 9780786429936 |
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Datensatz im Suchindex
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| adam_text | Table
of
Contents
Introduction: An Amateur
Time-Travel Memoir
1
I. In the Theater of
Dionysos
An Actor at Play with the Past—Athens,
2005 ..........5
A first view of the Theater of
Dionysos
at Athens, where theater
began in the West.
Three or More Greeces
......................11
A sketch-map of Greek history; where the century of the playwrights
fits in.
A Braid of Three Strands
.....................14
Religion, poetry and game competition
—
three elements crucial to
Greek theater.
Arion
...............................17
The poet who shaped the poetic form from which theater evolved.
A Thespian
s Dionysia
.......................21
The predemocratic turmoil in Athens. Thespis, an actor-inventor
brought to Athens by the dictator Pisistratus; the founding of the
festival that came to include dramatic contests.
II. Aeschylus and War News
Arms and the Man and the News
.................31
First surviving playwright, from Athens religious suburb,
Eleusis.
Athenian democracy. The Persian attack. Aeschylus participation
in Marathon.
vn
viii Table of
Contents
...
and the New
..........................37
A second wave of
Persian
attack, and the emerging theater of
that time.
Salamis.
How This Theater Worked —the Early Years
...........44
The running of the dramatic contest and the early plays.
III. First Plays and Other Newness
Philosopher as Playwright
.....................60
The fifth-century synthesis in the world at large, a nameless
revolution as seen behind The Suppliants.
Suppliants, Persians and Seven
...................68
Social and political implication of the plots of Aeschylus first
three plays.
HV. Prometheus, Then Orestes
Forethought
............................82
Challenges in Prometheus Bound, both religious and in
practicalities of staging.
The Cry on the House of Atreus
.................93
The Agamemnon on stage. A close look at the first production
of the Oresteia cycle: the mechanics and overall idea of tragedy.
The first use of a solid skene.
A Son Comes Home
.......................101
The Libation Bearers, a variation on a murderous theme.
The Gods Come to Athens
...................106
The Eumenides and the play s salute to the Areopagus.
Afterthoughts
..........................115
How did its audience react to The Oresteia
—
how do we?
Aeschylus as philosophic tragedian.
V. Sophocles and Euripides—Worse War News
An Unpleasant Few Minutes
...................121
Distrusts and furies in ancient and modern Athens.
Theater Life after Aeschylus
...................124
Sophocles, a man of his world, and Euripides, a man outside his
world, explore what Aeschylus initiated. Athens evolves toward
an empire.
Of
Ajax
and of Heracles Wife
..................128
Sophocles first two plays.
Table of
Contents ix
A One against a Many
......................134
Political and social resonance in the first performance of Sophocles
Antigone.
Problematics
...........................141
Some conventions of tragedy we find least appealing: messengers,
stichomythia (stylized dialogue), choruses tangential to action
...
and so forth.
Two Electras, Sophocles and Euripides
.............146
Two playwrights contrasted via their plays on a theme from
Aeschylus. Sophocles as tragedian of psychology. Euripides as
tragedian of the bizarre. Writers in a city at war.
VI. Then and Now
A Twinge
.............................171
Parallels between Athens and current U.S./British foreign policy.
The disaster of the Peloponnesian Wars reflected in Sophocles and,
more uniquely, in Euripides.
Hubris in a Theater of War
...................175
The phenomenon of dramatic tragedy in a context of war.
The defeat of Athens and the atrophy of the art of tragedy.
The Art of Old Age
.......................180
The unique last plays of Sophocles and Euripides.
Charon s Steps
..........................183
The withering of an art.
Then Afterthought Said
......................188
A summing up
—
the creative value of digression, irrelevance and
history.
Bibliography
195
Index
199
|
| adam_txt |
Table
of
Contents
Introduction: An Amateur
Time-Travel Memoir
1
I. In the Theater of
Dionysos
An Actor at Play with the Past—Athens,
2005 .5
A first view of the Theater of
Dionysos
at Athens, where theater
began in the West.
Three or More Greeces
.11
A sketch-map of Greek history; where the century of the playwrights
fits in.
A Braid of Three Strands
.14
Religion, poetry and game competition
—
three elements crucial to
Greek theater.
Arion
.17
The poet who shaped the poetic form from which theater evolved.
A Thespian
s Dionysia
.21
The predemocratic turmoil in Athens. Thespis, an actor-inventor
brought to Athens by the dictator Pisistratus; the founding of the
festival that came to include dramatic contests.
II. Aeschylus and War News
Arms and the Man and the News
.31
First surviving playwright, from Athens' religious suburb,
Eleusis.
Athenian democracy. The Persian attack. Aeschylus' participation
in Marathon.
vn
viii Table of
Contents
.
and the New
.37
A second wave of
Persian
attack, and the emerging theater of
that time.
Salamis.
How This Theater Worked —the Early Years
.44
The running of the dramatic contest and the early plays.
III. First Plays and Other Newness
Philosopher as Playwright
.60
The fifth-century synthesis in the world at large, a nameless
revolution as seen behind The Suppliants.
Suppliants, Persians and Seven
.68
Social and political implication of the plots of Aeschylus'first
three plays.
HV. Prometheus, Then Orestes
Forethought
.82
Challenges in Prometheus Bound, both religious and in
practicalities of staging.
The Cry on the House of Atreus
.93
The Agamemnon on stage. A close look at the first production
of the Oresteia cycle: the mechanics and overall idea of tragedy.
The first use of a solid skene.
A Son Comes Home
.101
The Libation Bearers, a variation on a murderous theme.
The Gods Come to Athens
.106
The Eumenides and the play's salute to the Areopagus.
Afterthoughts
.115
How did its audience react to The Oresteia
—
how do we?
Aeschylus as philosophic tragedian.
V. Sophocles and Euripides—Worse War News
An Unpleasant Few Minutes
.121
Distrusts and furies in ancient and modern Athens.
Theater Life after Aeschylus
.124
Sophocles, a man of his world, and Euripides, a man outside his
world, explore what Aeschylus initiated. Athens evolves toward
an empire.
Of
Ajax
and of Heracles' Wife
.128
Sophocles' first two plays.
Table of
Contents ix
A One against a Many
.134
Political and social resonance in the first performance of Sophocles'
Antigone.
Problematics
.141
Some conventions of tragedy we find least appealing: messengers,
stichomythia (stylized dialogue), choruses tangential to action
.
and so forth.
Two Electras, Sophocles' and Euripides'
.146
Two playwrights contrasted via their plays on a theme from
Aeschylus. Sophocles as tragedian of psychology. Euripides as
tragedian of the bizarre. Writers in a city at war.
VI. Then and Now
A Twinge
.171
Parallels between Athens and current U.S./British foreign policy.
The disaster of the Peloponnesian Wars reflected in Sophocles and,
more uniquely, in Euripides.
Hubris in a Theater of "War
.175
The phenomenon of dramatic tragedy in a context of war.
The defeat of Athens and the atrophy of the art of tragedy.
The Art of Old Age
.180
The unique last plays of Sophocles and Euripides.
Charon's Steps
.183
The withering of an art.
Then Afterthought Said
.188
A summing up
—
the creative value of digression, irrelevance and
history.
Bibliography
195
Index
199 |
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| title | In the theatre of Dionysos Democracy and tragedy in ancient Athens |
| title_auth | In the theatre of Dionysos Democracy and tragedy in ancient Athens |
| title_exact_search | In the theatre of Dionysos Democracy and tragedy in ancient Athens |
| title_exact_search_txtP | In the theatre of Dionysos Democracy and tragedy in ancient Athens |
| title_full | In the theatre of Dionysos Democracy and tragedy in ancient Athens Richard Sewell |
| title_fullStr | In the theatre of Dionysos Democracy and tragedy in ancient Athens Richard Sewell |
| title_full_unstemmed | In the theatre of Dionysos Democracy and tragedy in ancient Athens Richard Sewell |
| title_short | In the theatre of Dionysos |
| title_sort | in the theatre of dionysos democracy and tragedy in ancient athens |
| title_sub | Democracy and tragedy in ancient Athens |
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