The Death of Eurydice Orpheus' Descent Into Hades
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Case Study: Multiverse Wireless DMX at Hadestown on Broadway
CASE STUDY: Multiverse Wireless DMX Jewelle Blackman, Kay Trinidad, and Yvette Gonzalez-Nacer in Hadestown (Matthew Murphy) PROJECT SNAPSHOT Project Name: Hadestown on Broadway Location: Walter Kerr Theatre, NY, NY Hadestown is an exciting Opening Night: April 17, 2019 new Broadway musical Scenic Design: Rachel Hauck (Tony Award) that takes the audience Lighting Design: Bradley King (Tony Award) on a journey to Hell Associate/Assistant LD: John Viesta, Alex Mannix and back. Winner of eight 2019 Tony Awards, the show Lighting Programmer: Bridget Chervenka Production Electrician: James Maloney, Jr. presents the myth of Orpheus and Eurydice set to its very Associate PE: Justin Freeman own distinctive blues stomp in the setting of a low-down Head Electrician: Patrick Medlock-Turek New Orleans juke joint. For more information, read the House Electrician: Vincent Valvo Hadestown Review in Lighting & Sound America. Follow Spot Operators: Paul Valvo, Mitchell Ker Lighting Package: Christie Lites City Theatrical Solutions: Multiverse® 900MHz/2.4GHz Transmitter (5910), QolorFLEX® 2x0.9A 2.4GHz Multiverse Dimmers (5716), QolorFLEX SHoW DMX Neo® 2x5A Dimmers, DMXcat® CHALLENGES SOLUTION One of the biggest challenges for shows in Midtown Manhattan City Theatrical’s Multiverse Transmitter operating in the 900MHz looking to use wireless DMX is the crowded spectrum. With every band was selected to meet this challenge. The Multiverse lighting cue on stage being mission critical, a wireless DMX system – Transmitter provided DMX data to battery powered headlamps. especially one requiring a wide range of use, compatibility with other A Multiverse Node used as a transmitter and operating on a wireless and dimming control systems, and size restraints – needs SHoW DMX Neo SHoW ID also broadcast to QolorFlex Dimmers to work despite its high traffic surroundings. -
Excerpt from Euripides' Herakles
Excerpt from Euripides’ Herakles (lines 1189-1426) The action up until now: The goddess Hera has sent Madness upon Herakles. Madness has driven Herakles to kill his wife and his children. He mistook them for his enemies, being under the influence of Madness. Herakles is just coming out of the frenzied state he was in, and beginning to realise what he has done. He is contemplating suicide. Suddenly, Theseus of Athens appears on the scene. After a discussion with Herakles’ father Amphitryon, Theseus learns what has happened. At this moment, Herakles is lying in among his dead family members, ashamed of his actions, not wanting Theseus to see his face. I have included some lines here of the discussion between Theseus and Amphitryon, that will lead into the essential discussion between Herakles and Theseus. Theseus What do you mean? What has he done? Amphitryon Slain them in a wild fit of frenzy with arrows dipped in the venom of the hundred-headed hydra. Theseus This is Hera's work; but who lies there among the dead, old man? Amphitryon My son, my own enduring son, that marched with gods to Phlegra's plain, there to battle with giants and slay them, warrior that he was. Theseus Ah, ah! whose fortune was ever so cursed as his? Amphitryon Never will you find another mortal that has suffered more or been driven harder. Theseus Why does he veil his head, poor wretch, in his robe? Amphitryon He is ashamed to meet your eye; his kinsman's kind intent and his children's blood make him abashed. -
Seriously Playful: Philosophy in the Myths of Ovid's Metamorphoses
Seriously Playful: Philosophy in the Myths of Ovid’s Metamorphoses Megan Beasley, B.A. (Hons) This thesis is presented for the degree of Doctor of Philosophy of Classics of The University of Western Australia School of Humanities Discipline of Classics and Ancient History 2012 1 2 For my parents 3 4 Abstract This thesis aims to lay to rest arguments about whether Ovid is or is not a philosophical poet in the Metamorphoses. It does so by differentiating between philosophical poets and poetic philosophers; the former write poetry freighted with philosophical discourse while the latter write philosophy in a poetic medium. Ovid, it is argued, should be categorised as a philosophical poet, who infuses philosophical ideas from various schools into the Metamorphoses, producing a poem that, all told, neither expounds nor attacks any given philosophical school, but rather uses philosophy to imbue its constituent myths with greater wit, poignancy and psychological realism. Myth and philosophy are interwoven so intricately that it is impossible to separate them without doing violence to Ovid’s poem. It is not argued here that the Metamorphoses is a fundamentally serious poem which is enhanced, or marred, by occasional playfulness. Nor is it argued that the poem is fundamentally playful with occasional moments of dignity and high seriousness. Rather, the approach taken here assumes that seriousness and playfulness are so closely connected in the Metamorphoses that they are in fact the same thing. Four major myths from the Metamorphoses are studied here, from structurally significant points in the poem. The “Cosmogony” and the “Speech of Pythagoras” at the beginning and end of the poem have long been recognised as drawing on philosophy, and discussion of these two myths forms the beginning and end of the thesis. -
THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi
THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V). -
Worksheet 4. Orpheus and Eurydice (Teacher)
Ovid’s Metamorphoses: A Common Core Exemplar Worksheet 4. Orpheus and Eurydice (teacher) Comparing two versions of the Orpheus and Eurydice story (teacher version) Directions: Use the space below to identify the main similarities of the Orpheus and Eurydice story in the accounts by Ovid and H.D. The basic plot is the same: Orpheus has gone down to the underworld to rescue his wife Eurydice. Because he looks back as they are climbing up, contrary to the mandate of the god, she must return. Now list their differences, using the criteria in the chart below. Under the column headed “So What?” explain why each difference is significant. Additional cells have been included to allow students room to add their own criteria. Ovid’s “Orpheus and Criterion Eurydice” H.D.’s “Eurydice” So What? Begins with the wedding Begins with Eurydice’s Ovid tells the full story Opening of the poem and failure of Hymen to bitter anger at Orpheus from beginning to end. bless it for his arrogance Hymen’s appearance and actions are a foreshadowing of what will happen. H.D. is more focused, telling only a few minutes of the story. Ovid is the omniscient Eurydice speaks in first Ovid is classical, Narrator narrator, telling the story person, clearly expressing relatively restrained in in a measured, her anger and frustration emotion, even in a tale unemotional tone. and using elaborate, involving the underworld, heartfelt descriptions. death, and lost love. H.D. exhibits more of a modern, romantic tone, bursting with resentment and feeling. Orpheus is loving and Orpheus’s personality is Good example of how Attitude of Eurydice brave; he even declares only conveyed through point of view can radically his willingness to die Eurydice’s eyes, and she alter the interpretation of himself if he can’t have views him as “arrogant” a narrative. -
3. Monody and Opera
Monody & Opera Florence Grand Duchy of Florence Italian Peninsula Monody & Opera FLORENCE Monody & Opera The CAMERATA Monody & Opera The CAMERATA Giovanni de’ BARDI, patron Jacopo CORSI, patron Girolamo MEI, historian Vincenzo GALILEI, musician Monody & Opera Polyphony = “Many Voices” Monody = “One Voice” Monody & Opera Reaction Against the Madrigal… The Madrigal The most important secular genre of the sixteenth century The Madrigal Composers enriched the meaning and impact of the text through musical setting. The genre became an experimental vehicle for dramatic characterization, inspiring new compositional devices. The Madrigal First Practice “Music is the mistress of the Text” Second Practice “The Text is the mistress of the Music” The Madrigal Claudio Monteverdi Cruda Amarilli (pub. 1605) The Madrigal The Madrigal Artusi / Monteverdi Controversy Giovanni Maria Artusi L’Artusi (pub. 1600) Monody & Opera The CAMERATA Musicians Jacopo PERI Giulio CACCINI Emilio de’ CAVALIERI Monody & Opera Speech song of Greek and Roman Theatrical Tragedies & Epic “GREEKS and ROMANS” Monody & Opera “[The Camerata] having repeatedly discoursed on the manner in which the ancients used to represent their tragedies, and whether they employed song, and of what kind, Signor Rinuccini took to writing the play Dafne, and Signor Corsi composed some airs to parts of it… and shared his thoughts with Signor Peri. The latter, having listened to their purpose and approving of the airs already composed, took to composing the rest… “The pleasure and amazement produced -
Orfeo Euridice
ORFEO EURIDICE NOVEMBER 14,17,20,22(M), 2OO9 Opera Guide - 1 - TABLE OF CONTENTS What to Expect at the Opera ..............................................................................................................3 Cast of Characters / Synopsis ..............................................................................................................4 Meet the Composer .............................................................................................................................6 Gluck’s Opera Reform ..........................................................................................................................7 Meet the Conductor .............................................................................................................................9 Meet the Director .................................................................................................................................9 Meet the Cast .......................................................................................................................................10 The Myth of Orpheus and Eurydice ....................................................................................................12 OPERA: Then and Now ........................................................................................................................13 Operatic Voices .....................................................................................................................................17 Suggested Classroom Activities -
Eurydice Monologue #1 I Hate Parties. and a Wedding Party Is the Biggest
Eurydice Monologue #1 I hate parties. And a wedding party is the biggest party of all. All the guests arrived and Orpheus is taking a shower.,’’ He’s always taking a shower when the guests arrive so he doesn’t have to greet them. Then I have to greet them. A wedding is for daughters and fathers. The mothers all dress up, trying to look like young women. But a wedding is for a father and a daughter. They stop being married to each other on that day. I always thought there would be more interesting people at my wedding. Eurydice Monologue #2 There was a roar, and a coldness — I think my husband was with me. What was my husband’s name? My husband's name? Do you know it? How strange. I don’t remember. It was horrible to see his face when I died. His eyes were two black birds and they flew to me. I said no — stay where you are — he needs you in order to see! When I got through the cold they made me swim in a river and I forgot his name. I forgot all the names. I know his name starts with my mouth shaped like a ball of twine – Oar — oar. I forget. They took me to a tiny boat. I only just fit inside. I looked at the oars and I wanted to cry. I tried to cry but I just drooled a little. I’ll try now [She tries to cry and finds that she can’t] What happiness it would be to cry. -
Prof. Thomas Hubbard Office
Prof. Thomas Hubbard Office: WAG 9 Hours: TTh 1-1:30, F 1-3 Phone: 471-0676 E-mail: [email protected] TAs: Colin MacCormack ([email protected]) & Tim Corcoran ([email protected]) TA office hours by appointment SYLLABUS - CLASSICAL MYTHOLOGY (CC 303 - #32145) The purpose of this course is to familiarize students in depth with the major myths of Ancient Greece, which have proven so influential on art, literature, and popular imagination in Rome, Renaissance and Baroque Europe, and even the contemporary world. We shall examine the various cultural influences that shaped and transformed these stories, as well as the way that gods and heroes were embedded in religious cult and ritual. Students will also be afforded the opportunity to learn about major theories of interpretation. The format of the course will center around daily lectures, but questions and discussion are encouraged. This course carries the Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non-U.S. cultural group, past or present. PART ONE: THE OLYMPIAN GODS Aug. 27 - "The Nature of Myths and their Interpretation: The Case of the Greeks" Sept. 1 - "Who Were the Greeks?" Reading: Csapo, Theories (pp. 1-36) Sept. 3 - "Myths of Creation and Cosmogony" Reading: Hesiod, Theogony (pp. 61-75); Handbook: Uranus, Ge, Cronus, Rhea, Atlas, Titans, Giants, Cyclopes, Hundred-handed Sept. 8 - "Zeus and the Establishment of Power" Reading: Hesiod, Theogony (pp. -
Allegory and Robert Henryson's "Orpheus and Eurydice"
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1971 Allegory and Robert Henryson's "Orpheus and Eurydice" Laury Temple Lof College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Lof, Laury Temple, "Allegory and Robert Henryson's "Orpheus and Eurydice"" (1971). Dissertations, Theses, and Masters Projects. Paper 1539624732. https://dx.doi.org/doi:10.21220/s2-28jr-na48 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. ALLEGORY AND ROBERT HENRYSON'S "ORPHEUS AND EURYDICE" A Thesis Presented to The Faculty of the Department of English The College of'William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by I! Laury Temple Lof 1971 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, May 19 71 QJL im. &Jk Ap?. John W. Conlee K R) . ^OXw> sf TTr Dr. Frank B. Evans, III l\\ j Ilf!•/ ■ / II t f y i f i - u J ^y v - , Dr. J . Ward Jones, Jr ./j V * ( y ABSTRACT Robert Henryson1s poem "Orpheus and Eurydice" is a fifteenth-century retelling of the Orpheus myth. The ma jor critical problem in its interpretation involves the de gree to which the allegorical portrait, one of four por traits of Orpheus that emerged from the fourth to the fif teenth centuries, should be applied. -
Common Butterflies of the Chicago Region
Common Butterflies of the Chicago Region 1 Chicago Wilderness, USA The Field Museum, Illinois Butterfly Monitoring Network Photos by: John and Jane Balaban, Tom Peterson, Doug Taron Produced by: Rebecca Collings and John Balaban © The Field Museum, Chicago, IL 60605 USA. [http://idtools.fieldmuseum.org] [[email protected]] version 1 (7/2013) VICEROY: line crossing through hind wing, smaller than a Monarch. Host plants: Willows (Salix). MONARCH: no line crossing through the hind wing, much larger and a stronger flier than a Viceroy. Host plants: Milkweeds (Asclepias). 1 Viceroy 2 Monarch - Male 3 Monarch - Female Limentis archippus Danaus plexippus Danaus plexippus BLACK SWALLOWTAIL: in addition to outer line of yellow dots, male has a strong inner line, and blue may be almost absent. Female with much weaker inner line of yellow with separate spot near tip of wing. Some blue on hind-wing, but does not extend up into hindwing above row of faint spots. Host Plants: Parsley Family (Api- 4 Black Swallowtail 5 Black Swallowtail 6 Black Swallowtail aceae). Papilio polyxenes Papilio polyxenes Papilio polyxenes EASTERN TIGER SWALLOW- TAIL: no inner line of yellow dots. No dot near tip. Lots of blue on hindwing, up into center of hind wing. No inner row of orange dots. Tiger stripes often still visible on female dark form. Host Plants: Black Cherry (Prunus serotina) and Tulip Tree (Lirioden- dron tulipifera). 7 Eastern Tiger Swallowtail 8 Eastern Tiger Swallowtail 9 Eastern Tiger Swallowtail Papilio glaucus Papilio glaucus Papilio glaucus RED SPOTTED PURPLE: no tails, no line of yellow spots. Blue-green iridescence depends on lighting. -
Eurydice: a Brief Synopsis of the Myth Production History Highlights of Eurydice Motifs in the Play
PLAYGOER’S GUIDE Prepared by Production Dramaturg Kimberly Colburn and Literary Intern Rachell Campbell TABLE OF CONTENTS Part I: THE PLAY Orpheus and Eurydice: A Brief Synopsis of the Myth Production History Highlights of Eurydice Motifs in the Play Part II: THE PLAYWRIGHT About the Playwright: Sarah Ruhl by David Myers List of Ruhl’s Plays Part III: THE PRODUCTION Designing Eurydice Part IV: QUESTIONS FOR DISCUSSION Before the Show After the Show Part V: RESOURCES Other Study Guides and Programs Reference Materials Articles Part I: THE PLAY Orpheus and Eurydice: A Brief Synopsis of the Myth hile there are many variations on the myth of Orpheus and Eurydice among poets Ovid, Virgil, and WApollonius or philosophers Plato and Aristotle, the basic story goes as follows. A charming and talented musician, Orpheus is the son of a Thracian king and the muse Calliope. When Orpheus plays, every animate and inanimate thing follows and his music can divert the course of rivers. He meets and marries the maiden Eurydice—thought to be perhaps a nymph (minor Greek deity related to nature), or maybe a daughter of Apollo. Their joy is brief; on their wedding day Eurydice travels through a meadow with her bridesmaids (in some versions, she’s running to Orpheus Leading Eurydice from the Underworld by Jean-Baptiste-Camille Corot, 1861. escape the sexual advances of a satyr or shepherd) and she steps into a pit of vipers. She is bitten by a snake and dies. never touches a myth without developing, expanding, and sometimes radically changing it.” Eurydice’s father Overcome with grief, Orpheus strikes a sad note on his doesn’t play a role in the original myth, but he plays a lyre and travels to the Underworld.