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(Re)inventing Euripides’ Bacchae as hybristic as Pentheus’ own tragic rejection of Dionysus and as fraught with as much danger and as many pitfalls. However, it is a given of people actively involved in the business of translation and direction that each succeeding generation — at the very least — requires a new and contextually a

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Performance-based research into Greek draman University; encouraged by the chairman, Steven Scully, I submitted it for consideration to a well-known journal of classical literature. The editor’s response was that the paper would need complete rewriting; he felt that it was essential to distinguish between ‘objective’ insights gained from my

和平主义

大笑

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Performance and dramatic discourse in New Comedygraphic evidence is so much more prolific. The project which has recently started at the University of Glasgow will hopefully work to redress this balance, and promote interest in Menander’s plays, as well as their performance. Its aims are to apply 3D imaging technologies to the ancient artefacts t

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Translation Forumttle bit like a combination between doing a crossword puzzle and being involved in a séance, if you can imagine such a thing. I mainly translate Plautus and one’s constantly trying to find the right word for the right situation, but also trying to put oneself in a state of mind — for me it’s a deepl

争吵

From Athens to Magna Graecia: Dramatic Visionic, comic and possibly satyric, were exported to Magna Graecia for perform,ance there, in what was a very different dramatic environment.. How those plays were performed in Athens and the impact they had, we can only deduce from the very limited stories that survive and from reconstruction of the pl

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Greek drama in Rhodesia/Zimbabwen passing, to adaptations of Greek tragedy by the Nigerian Wole Solinka and by the South African Athol Fugard;. Macintosh, in discussing performance in the twentieth century, concentrates (understandably) on Britain, Europe and the USA, mentions Japan and Australia, but makes no reference at all to

Spirometry

Ancient drama in Russia in the 1910s and 1920stion, (ii) ‘fresh glance’, and (iii) mass performance. There were not in fact many productions, and among them, as always, were ones about which not much can be said. This paper highlights some of the important and interesting performances which, taken together, illustrate the three general tendenci