A Handbook to the Reception of Greek Drama.

Title Page -- Copyright Page -- Contents -- Foreword -- List of Illustrations -- Notes on Contributors -- Note on Nomenclature and Spelling -- Introduction -- The Structure of the Book -- References -- Part I The Ancient World -- Chapter 1 The Reception of Greek Tragedy from 500 to 323 BC -- Aristophanes' Frogs -- Lycurgus' Against Leocrates -- Vase Paintings -- Aristotle's Poetics -- Notes -- Guide to Further Reading -- References -- Chapter 2 Greek Comedy and its Reception, c. 500-323 BC -- Note -- Guide to Further Reading -- References -- Chapter 3 Greek Drama in the Hellenistic World -- Modern Scholarship and Ancient Sources -- From Athens to Alexandria: Compiling, Analyzing, and Responding to Greek Drama -- Reception of Greek Drama in Early Hellenistic Literature -- Conclusion -- Notes -- Guide to Further Reading -- References -- Chapter 4 Greek Comedy at Rome -- Introduction -- Fabula Palliata -- Plautus and Terence -- Audiences -- Fabula Togata, and the Decline of the Palliata -- Later Developments -- Conclusion -- Note -- Guide to Further Reading -- References -- Chapter 5 Roman Tragedy -- Introduction: "Translation" or "Reception"? -- Republican Tragedy: The First Generations -- Late Republican and Augustan Tragedy -- Early Imperial Tragedy -- Fabulae Praetextae -- Conclusion: Roman Tragedy A Remake of the Greek? -- Notes -- Guide to Further Reading -- References -- Part II Transition -- Chapter 6 Ancient Drama in the Medieval World -- The Dwindling of Classical Drama before the Middle Ages -- The Anxiety of Influence: Pagan Theater and the Fledgling Christian Church -- Usable Pasts: Ancient Drama in Byzantium and the Medieval West, 500-1000 -- The Rebirth of Tragedy and Comedy, 1000-1350 -- The Invention of "the Dark Ages" and the Medieval Legacy of Greek Drama -- Note -- Guide to Further Reading -- References.

Part III The Renewal of Ancient Drama -- Chapter 7 The Reception of Ancient Drama in Renaissance Italy -- Introduction -- The "Rediscovery" of the Classics in Italy -- The Theoretical Debate -- The Content of Renaissance Neoclassical Tragedy -- Ancient Tragic Themes in the Renaissance World -- The Content of Neoclassical Comedy -- Commedia Erudita: from Translations and Adaptations to Original Plays -- Conclusion -- Notes -- Guide to Further Reading -- References -- Chapter 8 Ancient Drama in the French Renaissance and up to Louis XIV -- Notes -- Guide to Further Reading -- References -- Chapter 9 The Reception of Greek Drama in Early Modern England -- "Invisible" Hecubas: A Case Study in Early Modern Reception -- Epilog -- Notes -- Guide to Further Reading -- References -- Part IV The Modern and Contemporary World -- Chapter 10 Greece: A History of Turns, Traditions, and Transformations -- In the Name of Revolution and the Nation -- The Romanticist Turn and the (Re)Turn to Classicizing -- The Modernist Turn and Its Backlash -- The Democratic Turn: Classical Tragedy on Greek Prison Islands -- The Performative Turn: New Greek Theater under the Military Dictatorship -- The Post-1974 Reperformative Turn and Stage Dialectics -- The Postmodernist Turn -- Drama in a Downturn -- Notes -- Guide to Further Reading -- References -- Chapter 11 The History of Ancient Drama in Modern Italy -- The Classical Heritage -- The Teatro Olimpico -- Vittorio Alfieri -- The Early Twentieth Century -- Comedy and Satire -- Gassman and Pasolini -- Recent Years -- Notes -- Guide to Further Reading -- References -- Chapter 12 The Reception of Greek Theater in France since 1700 -- 1715-1789: Splendor and Misery of Neoclassical Theater -- The End of the Ancien Régime -- 1789-1914: From Theatrical Revolutions to a Republic of Festivals -- 1870-1914: Greek Revival.

1914-2014: An Age of Reception -- Note -- Guide to Further Reading -- References -- Chapter 13 Germany, Austria, and Switzerland -- Introduction -- Pre-History and First Endeavors -- The Revival of Tragedy in Prussia and Bavaria: Antigone in Potsdam (1841) -- Trends in Staging Greek Tragedy after 1900 -- The Twenties and the NS Dictatorship -- Ancient Drama in Post-War Germany until the 1960s -- The Neo-Avant-garde: The Dionysian Turn -- The Berlin Antikenprojekt I (1974): Research on Origins -- The Berlin Antikenprojekt II (1980): A Turn against the Director's Theater? -- Grüber's Prometheus as the Third Act -- Post-Dramatic Theater -- Mythical Popularization in Zürich -- The Latest Antikenprojekt in Berlin (2006) -- Conclusion -- Notes -- Guide to Further Reading -- References -- Chapter 14 The Reception of Greek Drama in Belgium and the Netherlands -- Introduction -- The Eighteenth Century and Earlier -- The Nineteenth Century -- From the Turn of the Century to World War II -- The Postwar Period -- Postdramatic Theater -- Notes -- Guide to Further Reading -- References -- Chapter 15 The Reception of Greek Drama in England from the Seventeenth to the Twenty-First Century -- Early Years -- Prussian Influence Comes to the London Stage -- The Early Twentieth Century -- Modern English Poets and Greek Drama -- Two Approaches to Oedipus -- Features of Classical Drama in Contemporary England -- Actors of Dionysus -- Conclusion -- Notes -- Guide to Further Reading -- References -- Chapter 16 Conquering England: Ireland and Greek Tragedy -- Introduction -- Greeks and Irish Cultural Nationalism -- Shaping Form -- Shaping Content -- Conclusion -- Notes -- Guide to Further Reading -- References -- Chapter 17 The Reception of Greek Drama in the Czech Republic -- Early History or Pre-History?.

The First Stage of the Production of Ancient Plays: The Time of Discoveries -- The Second Stage of the Production of Ancient Plays: The Substitution Role of Ancient Drama -- The Third Stage of the Productions of Ancient Plays: We Return to the Free World -- A Synthesis of Current Scholarship and Scholarly Debates -- Notes -- Guide to Further Reading -- References -- Chapter 18 Antigone, Medea, and Civilization and Barbarism in Spanish American History -- The Head in the Cage (an Adaptation of Antigone) -- The Limit (an Adaptation of Antigone) -- Antígona Vélez -- The Frontier (an Adaptation of Medea) -- Notes -- Guide to Further Reading -- References -- Chapter 19 Greek Drama in the Arab World -- The Rise of Arab Theater -- Greek Drama in the Arab World before the 1920s -- Greek Drama in the Arab World from the 1920s to the 1950s -- Greek Drama in the Arab World from the 1950s to the Present -- The Reception of the Ichneutai in the Modern Arab World -- Notes -- Guide to Further Reading -- References -- Chapter 20 The Reception of Greek Tragedy in Japan -- Notes -- Guide to Further Reading -- References -- Chapter 21 Greek Drama in North America -- Medea and Jason, Haymarket Theatre, Boston, 1798 -- The Bowery, Oedipus, New York, 1834 -- George Vandenhoff's Antigone, New York and Boston, 1845 -- The Penn, Acharnians, Philadelphia, 1886 -- Margaret Anglin's Antigone, Berkeley, 1910 -- Guthrie's Oedipus Rex, Stratford, Ontario, 1954 -- Schechner's Dionysus in '69, New York, 1968 -- Will Power's The Seven, New York, 2006 -- Notes -- Guide to Further Reading -- References -- Chapter 22 Greek Drama in Australia -- Medea: the Greatest Actress of the Century -- Tentative Beginnings, 1886-1915 -- The Anthroposophical 1930s -- The 1940s-1955 -- 1955 -- 1956-1966 -- Enter The New Wave: Reception 1967-1989 -- 1990-2014 -- 1990s Physical Theater -- Conclusion.

Notes -- Guide to Further Reading -- References -- Chapter 23 The Reception of Greek Drama in Africa:: "A Tradition That Intends to Be Established" -- Histories and Traditions -- Poetics and Politics -- Critical Reactions -- Notes -- Guide to Further Reading -- References -- Chapter 24 Greek Drama in Opera -- From the Invention of Opera to the 1760s -- Christoph Ritter von Gluck and Iphigénie en Tauride -- Cherubini's Médée -- Wagner and Aeschylus -- Sergey Taneyev: Oresteia -- Elektra by Hugo von Hofmannsthal and Richard Strauss -- The First Half of the Twentieth Century -- The Bassarids -- 1966-2013 -- Comedy -- Conclusion -- Notes -- Guide to Recommended Viewing/Listeningand Further Reading -- References -- Chapter 25 Filmed Tragedy -- Essences: Tragic/Cinematic -- Realism/Anti-Realism: Cacoyannis/Pasolini -- Pier Paolo Pasolini (Oedipus Rex, 1967 -- Medea, 1970) -- Different Sorts of Realist/Anti-Realist Treatments -- Films of Theatrical Performances -- Films with an Oblique Relation to Ancient Tragedy -- The Cannibals (Liliana Cavani, 1970) -- Notes -- Guide to Further Reading -- References -- References -- Index -- EULA.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2017. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.