By Rosanna Lauriola, Kyriakos N. Demetriou
Brill's spouse to the Reception of Euripides presents a finished account of the effect and appropriation of all extant Euripidean performs for the reason that their inception: from antiquity to modernity, throughout cultures and civilizations, from a number of views and inside of a vast variety of human event and cultural traits, particularly literature, highbrow historical past, visible arts, tune, opera and dance, level and cinematography. A concerted paintings through a global staff of experts within the box, the amount is addressed to a large and multidisciplinary readership of classical reception reports, from specialists to non-experts. participants interact in a vividly and vigorous interactive discussion with the traditional and the fashionable which, whereas illuminating features of historical drama and highlighting their ever-lasting relevance, bargains a considerate and layered consultant of the human situation.
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Additional resources for Brill's companion to the reception of Euripides
77 Oleksinski (2012). Hartigan (2011) takes much more positive view. 78 In 1962 he wrote and directed Electra based on Euripides (in Greek: see below, pp. 227–9), and in 1971 Trojan Women (in English: see below, pp. 89–92). 79 Bakogianni (2013b) 217. 36 Gamel At the beginning of this chapter I argued that the very openness and uncertainty of Euripides’ script—its shifts and reversals of plot, character and tone, the questions it raises—offer great opportunities to later artists. In particular, Euripides made a crucial decision to bring only certain characters onstage—Agamemnon, Menelaus, Achilles, but not Calchas or Odysseus.
1968) Euripides: A Collection of Critical Essays. Englewood Cliffs NJ: Prentice Hall. Stephens, P. T. (1956) “Euripides and the Athenians,” Journal of the Hellenic Studies 76: 87–94. Verrall, A. W. (1895) Euripides the Rationalist: A Study in the History of Art and Religion. Cambridge: Cambridge University Press. Walton, J. M. (2010) Euripides Our Contemporary. Berkeley and Los Angeles: University of California Press. Part 1 The Tragedies of War and Its Aftermath: The Trojan Cycle ∵ Chapter 1 Iphigenia at Aulis Mary-Kay Gamel Euripides’ Iphigenia at Aulis is full of reversals.
61 Hartigan (1995) 76–9. 62 Foley (2012) 299. 63 Reviewed by Foley (2001). 64 On this production see Foley (2005) 319–22. 65 For a thoughtful discussion see Kovacs (2010) 250–3 (with bibliography). , below, pp. 78–80; 225; 248; 418–20; 529–30. 32 Gamel suit, Clytemnestra a formal dress, hat and gloves, while Iphigenia was a playful teenager in pedal-pushers. A comic actor was cast as Achilles; as he gave his self-absorbed speech to Clytemnestra (Iphigenia at Aulis 919–74) he roamed through the audience and flirted with the women in the Chorus.
Brill's companion to the reception of Euripides by Rosanna Lauriola, Kyriakos N. Demetriou