Tragic Props and Cognitive Function


Book Description

By applying aspects of cognitive psychology to a study of three key tragic props, this book examines the importance of visual imagery in ancient Greek tragedy. The shield, the urn and the mask are props which serve as controls for investigating the connection between visual imagery and the spectators' intellectual experience of tragic drama. As vehicles for conceptual change the props point to a function of imagery in problem solving. Connections between the visual and the cognitive in tragedy, particularly through image shape and its potential for various meanings, add a new perspective to scholarship on the role of the visual in ancient performance. These connections also add weight to the importance of imagery in contemporary problem solving and creative thought.




Athenian Tragedy in Performance


Book Description

Foregrounding critical questions about the tension between the study of drama as literature versus the study of performance, Melinda Powers investigates the methodological problems that arise in some of the latest research on ancient Greek theatre. She examines key issues and debates about the fifth-century theatrical space, audience, chorus, performance style, costuming, properties, gesture, and mask, but instead of presenting a new argument on these topics, Powers aims to understand her subject better by exploring the shared historical problems that all scholars confront as they interpret and explain Athenian tragedy. A case study of Euripides’s Bacchae, which provides more information about performance than any other extant tragedy, demonstrates possible methods for reconstructing the play’s historical performance and also the inevitable challenges inherent in that task, from the limited sources and the difficulty of interpreting visual material, to the risks of conflating actor with character and extrapolating backward from contemporary theatrical experience. As an inquiry into the study of theatre and performance, an introduction to historical writing, a reference for further reading, and a clarification of several general misconceptions about Athenian tragedy and its performance, this historiographical analysis will be useful to specialists, practitioners, and students alike.




Theatre Props and Civic Identity in Athens, 458-405 BC


Book Description

This book answers the question 'How did Athenian drama shape ideas about civic identity?' through the medium of three case studies focusing on props. Traditional responses to the question have overlooked the significance of props which were symbolically implicated in Athenian ideology, yet the key objects explored in this study (voting urns and pebbles, swords, and masks) each carried profound connections to Athenian civic identity while also playing important roles as props on the fifth-century stage. Playwrights exploited the powerful dynamic generated from the intersection between the 'social lives' (off-stage existence in society) and 'stage lives' (handling in theatre) of these objects to enhance the dramatic effect of their plays as well as the impact of these performances on society. The exploration of the 'stage lives' of these objects across comedy, tragedy, and satyr drama reveals much about generic interdependence and distinction. Meanwhile the consideration of iconography representing the objects' lives outside the theatre sheds light on drama's powerful interplay with art. Essential reading for scholars and students of ancient Greek history, culture, and drama, the innovative approach and insightful analysis contained in this volume will also be of interest to researchers in the fields of Theatre Studies, Art History, and Cultural Studies.




The Materialities of Greek Tragedy


Book Description

Situated within contemporary posthumanism, this volume offers theoretical and practical approaches to materiality in Greek tragedy. Established and emerging scholars explore how works of the three major Greek tragedians problematize objects and affect, providing fresh readings of some of the masterpieces of Aeschylus, Sophocles, and Euripides. The so-called new materialisms have complemented the study of objects as signifiers or symbols with an interest in their agency and vitality, their sensuous force and psychosomatic impact-and conversely their resistance and irreducible aloofness. At the same time, emotion has been recast as material “affect,” an intense flow of energies between bodies, animate and inanimate. Powerfully contributing to the current critical debate on materiality, the essays collected here destabilize established interpretations, suggesting alternative approaches and pointing toward a newly robust sense of the physicality of Greek tragedy.




Aristophanes and His Tragic Muse


Book Description

Despite the many studies of Greek comedy and tragedy separately, scholarship has generally neglected the relation of the two. And yet the genres developed together, were performed together, and influenced each other to the extent of becoming polar opposites. In Aristophanes and His Tragic Muse, Stephanie Nelson considers this opposition through an analysis of how the genres developed, by looking at the tragic and comic elements in satyr drama, and by contrasting specific Aristophanes plays with tragedies on similar themes, such as the individual, the polis, and the gods. The study reveals that tragedy’s focus on necessity and a quest for meaning complements a neglected but critical element in Athenian comedy: its interest in freedom, and the ambivalence of its incompatible visions of reality.




Tragedy and the Return of the Dead


Book Description

Early modernity rediscovered tragedy in the dramas and the theoretical writings of the ancient Greeks and Romans. Attempting to make new tragic fictions, writers like Shakespeare, Webster, Hardy, Corneille, and Racine created a dramatic form that would probably have been unrecognizable to the ancient Athenians. Tragedy and the Return of the Dead recovers a model of the tragic that fits ancient tragedies, early modern tragedies, as well as contemporary narratives and films no longer called “tragic” but which perpetuate the same elements. Authoritative, wide-ranging, and thought provoking, Tragedy and the Return of the Dead uncovers a set of interlocking plots of family violence that stretch from Greek antiquity up to the popular culture of today. Casting aside the elite, idealist view that tragedy manifests the conflict between two equal goods or the human struggle against the divine, John D. Lyons looks closely at tragedy’s staging of gory and painful deaths, ignominious burials, and the haunting return of ghosts. Through this adjusted lens Le Cid, Hamlet, Frankenstein, The Spanish Tragedy, Romeo and Juliet, Phèdre, Macbeth, and other early modern works appear in a striking new light. These works are at the center of a panorama that stretches from Aeschylus’s Agamemnon to Hitchcock’s Psycho and are placed against the background of the Gothic novel, Freud’s “uncanny,” and Burke’s “sublime.” Lyons demonstrates how tragedy under other names, such as “Gothic fiction” and “thrillers,” is far from dead and continues as a vital part of popular culture.




Brill's Companion to Euripides (2 vols)


Book Description

Brill’s Companion to Euripides, as well as presenting a comprehensive and authoritative guide to understanding Euripides and his masterworks, provides scholars and students with compelling fresh perspectives upon a broad range of issues in the field of Euripidean studies.




The Structure and Performance of Euripides' Helen


Book Description

Using Euripides' play Helen as the main point of reference, C. W. Marshall's detailed study expands our understanding of Athenian tragedy and provides new interpretations of how Euripides created meaning in performance. Marshall focuses on dramatic structure to show how assumptions held by the ancient audience shaped meaning in Helen and to demonstrate how Euripides' play draws extensively on the satyr play Proteus, which was part of Aeschylus' Oresteia. Structure is presented not as a theoretical abstraction, but as a crucial component of the experience of performance, working with music, the chorus and the other plays in the tetralogy. Euripides' Andromeda in particular is shown to have resonances with Helen not previously described. Arguing that the role of the director is key, Marshall shows that the choices that a director can make about role doubling, gestures, blocking, humour, and masks play a crucial part in forming the meaning of Helen.




Theatrocracy


Book Description

Theatrocracy is a book about the power of the theatre, how it can affect the people who experience it, and the societies within which it is embedded. It takes as its model the earliest theatrical form we possess complete plays from, the classical Greek theatre of the fifth century BCE, and offers a new approach to understanding how ancient drama operated in performance and became such an influential social, cultural, and political force, inspiring and being influenced by revolutionary developments in political engagement and citizen discourse. Key performative elements of Greek theatre are analyzed from the perspective of the cognitive sciences as embodied, live, enacted events, with new approaches to narrative, space, masks, movement, music, words, emotions, and empathy. This groundbreaking study combines research from the fields of the affective sciences – the study of human emotions – including cognitive theory, neuroscience, psychology, artificial intelligence, psychiatry, and cognitive archaeology, with classical, theatre, and performance studies. This book revisits what Plato found so unsettling about drama – its ability to produce a theatrocracy, a "government" of spectators – and argues that this was not a negative but an essential element of Athenian theatre. It shows that Athenian drama provided a place of alterity where audiences were exposed to different viewpoints and radical perspectives. This perspective was, and is, vital in a freethinking democratic society where people are expected to vote on matters of state. In order to achieve this goal, the theatre offered a dissociative and absorbing experience that enhanced emotionality, deepened understanding, and promoted empathy. There was, and still is, an urgent imperative for theatre.




Performance in Greek and Roman Theatre


Book Description

Drawing on insights from various disciplines (philology, archaeology, art) as well as from performance and reception studies, this volume shows how a heightened awareness of performance can enhance our appreciation of Greek and Roman theatre.




Recent Books