Dionysus Since 69 | APGRD

Dionysus Since 69

Greek Tragedy at the Dawn of the Third Millennium

Cover of 'Choruses, Ancient & Modern', title in turquoise against a white background and Pablo Picasso's ceramic 'Quatre danseurs'

Edith Hall, Fiona Macintosh, and Amanda Wrigley

2004

About

This book is the first to address the fundamental question, why has there been so much Greek tragedy in the theatres, opera houses and cinemas of the last three decades? An interdisciplinary team of specialists from the worlds of classics, theatre studies, and the professional theatre relate the recent appeal of Greek tragedy to social trends, political developments, aesthetic and performative developments, and the intellectual currents of the last three decades, especially multiculturalism, post-colonialism, feminism, post-structuralism, revisions of psychoanalytical models, and secularization.

Publisher

Oxford University Press

See the volume on the OUP website

Chapters

Edith Hall, ‘Introduction: Why Greek tragedy since the late 1960s?’

Froma Zeitlin, ‘Dionysus in '69’

Helene Foley, ‘Bad women: gender politics in late twentieth-century performance and revision of Greek tragedy’

Kathleen Riley, ‘Heracles as Dr Strangelove and GI Joe: male heroism deconstructed’

Oliver Taplin, ‘Sophocles' Philoctetes, Seamus Heaney's, and some other recent half-rhymes'

Edith Hall, ‘Aeschylus, race, class, and war in the 1990s’

Pantelis Michelakis, ‘Greek tragedy in cinema: theatre, politics, history’

Lorna Hardwick, ‘Greek drama and anti-colonialism: decolonising Classics’

David Wiles, ‘The use of masks in modern performances of Greek tragedy’

Katharine Worth, ‘Greek notes in Samuel Beckett's theatre art’

Peter Brown, ‘Greek Tragedy in late twentieth-century opera’

Fiona Macintosh, ‘Oedipus in the East End: from Freus to Berkoff’

Erika Fischer-Lichte, ‘Thinking about the origins of theatre in the 1970s’

Timberlake Wertenbaker, ‘The voices we hear’

Amanda Wrigley, ‘Details of productions discussed’