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Sophocles, Ajax, Lines 1-171
SophoclesFourTrag-00Bk Page 2 Thursday, July 26, 2007 3:56 PM Ajax: Cast of Characters ATHENA goddess of wisdom, craft, and strategy ODYSSEUS a Greek commander from Ithaca AJAX the son of Telamon and a Greek commander from Salamis CHORUS of Salaminian warriors TECMESSA a Phrygian captive, wife of Ajax MESSENGER from the Greek camp, loyal to Teucer TEUCER the half-brother of Ajax, son of Telamon and Hesione, a Trojan MENELAUS the youngest son of Atreus and a Greek commander from Sparta AGAMEMNON the eldest son of Atreus from Mycenae and the supreme commander of the Greeks at Troy Nonspeaking Roles EURYSACES the young son of Ajax and Tecmessa ATTENDANTS Casting In the original production at the Theatre of Dionysus, the division of roles between the three speaking actors may have been as follows: 1. Ajax, Agamemnon 2. Athena, Messenger, Teucer 3. Tecmessa, Menelaus, Odysseus After line 1168, a nonspeaking actor played the role of Tecmessa. This translation is based on a version developed by Peter Meineck for the Aquila Theatre Company in 1993 for a U.S. tour. The original cast included Donald T. Allen, Tony Longhurst, James Moriarty, Yasmin Sidhwa, and Andrew Tansey. Division of roles: The parts can also be divided as follows: (1) Ajax, Teucer; (2) Odysseus, Tecmessa; (3) Athena, Messenger, Menelaus, Agamemnon. 2 SophoclesFourTrag-00Bk Page 3 Thursday, July 26, 2007 3:56 PM Ajax SCENE: Night. The Greek camp at Troy. It is the ninth year of the Trojan War, after the death of Achilles. Odysseus is following tracks that lead him outside the tent of Ajax. -
Gillian Bevan Is an Actor Who Has Played a Wide Variety of Roles in West End and Regional Theatre
Gillian Bevan is an actor who has played a wide variety of roles in West End and regional theatre. Among these roles, she was Dorothy in the Royal Shakespeare Company revival of The Wizard of Oz, Mrs Wilkinson, the dance teacher, in the West End production of Billy Elliot, and Mrs Lovett in the West Yorkshire Playhouse production of Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street. Gillian has regularly played roles in other Sondheim productions, including Follies, Merrily We Roll Along and Road Show, and she sang at the 80th birthday tribute concert of Company for Stephen Sondheim (Donmar Warehouse). Gillian spent three years with Alan Ayckbourn’s theatre-in-the-round in Scarborough, and her Shakespearian roles include Polonius (Polonia) in the Manchester Royal Exchange Theatre production of Hamlet (Autumn, 2014) with Maxine Peake in the title role. Gillian’s many television credits have included Teachers (Channel 4) in which she played Clare Hunter, the Headmistress, and Holby City (BBC1) in which she gave an acclaimed performance as Gina Hope, a sufferer from Motor Neurone Disease, who ends her own life in an assisted suicide clinic. During the early part of 2014, Gillian completed filming London Road, directed by Rufus Norris, the new Artistic Director of the National Theatre. In the summer of 2014 Gillian played the role of Hera, the Queen of the Gods, in The Last Days of Troy by the poet and playwright Simon Armitage. The play, a re-working of The Iliad, had its world premiere at the Manchester Royal Exchange Theatre and then transferred to Shakespeare’s Globe Theatre, London. -
“The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore
The Macksey Journal Volume 1 Article 31 2020 “The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore Julian A. Emole University of Wisconsin-Eau Claire, [email protected] Follow this and additional works at: https://www.mackseyjournal.org/publications Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Classical Literature and Philology Commons, European Languages and Societies Commons, German Linguistics Commons, Indo-European Linguistics and Philology Commons, Medieval Studies Commons, and the Scandinavian Studies Commons Recommended Citation Emole, Julian A. (2020) "“The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore," The Macksey Journal: Vol. 1 , Article 31. Available at: https://www.mackseyjournal.org/publications/vol1/iss1/31 This Article is brought to you for free and open access by The Johns Hopkins University Macksey Journal. It has been accepted for inclusion in The Macksey Journal by an authorized editor of The Johns Hopkins University Macksey Journal. “The Symmetrical Battle” Extended: Old Norse Fránn and Other Symmetry in Norse-Germanic Dragon Lore Cover Page Footnote The title of this work was inspired by Daniel Ogden's book, "Drakōn: Dragon Myth & Serpent Cult in the Greek & Roman Worlds," and specifically his chapter titled 'The Symmetrical Battle'. His work serves as the foundation for the following outline of the Graeco-Roman dragon and was the inspiration for my own work on the Norse-Germanic dragon. This paper is a condensed version of a much longer unpublished work, which itself is the product of three years worth of ongoing research. -
Seven Against Thebes1
S K E N È Journal of Theatre and Drama Studies 4:2 2018 Kin(g)ship and Power Edited by Eric Nicholson SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri General Editors Guido Avezzù (Executive Editor), Silvia Bigliazzi. Editorial Board Simona Brunetti, Francesco Lupi, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editor Francesco Lupi. Editorial Staff Francesco Dall’Olio, Marco Duranti, Maria Serena Marchesi, Antonietta Provenza, Savina Stevanato. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Daniela Guardamagna, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2018 SKENÈ Published in December 2018 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://www.skenejournal.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, Verona (I) Contents Kin(g)ship and Power Edited by Eric Nicholson Eric Nicholson – Introduction 5 Anton Bierl – The mise en scène of Kingship and Power in 19 Aeschylus’ Seven Against Thebes: Ritual Performativity or Goos, Cledonomancy, and Catharsis Alessandro Grilli – The Semiotic Basis of Politics 55 in Seven Against Thebes Robert S. -
The Shield As Pedagogical Tool in Aeschylus' Seven Against Thebes
АНТИЧНОЕ ВОСПИТАНИЕ ВОИНА ЧЕРЕЗ ПРИЗМУ АРХЕОЛОГИИ, ФИЛОЛОГИИ И ИСТОРИИ ПЕДАГОГИКИ THE SHIELD AS PEDAGOGICAL TOOL IN AESCHYLUS’ SEVEN AGAINST THEBES* Victoria K. PICHUGINA The article analyzes the descriptions of warriors in Aeschylus’s tragedy Seven against Thebes that are given in the “shield scene” and determines the pedagogical dimension of this tragedy. Aeschylus pays special attention to the decoration of the shields of the com- manders who attacked Thebes, relying on two different ways of dec- orating the shields that Homer describes in The Iliad. According to George Henry Chase’s terminology, in Homer, Achilles’ shield can be called “a decorative” shield, and Agamemnon’s shield is referred to as “a terrible” shield. Aeschylus turns the description of the shield decoration of the commanders attacking Thebes into a core element of the plot in Seven against Thebes, maximizing the connection be- tween the image on the shield and the shield-bearer. He created an elaborate system of “terrible” and “decorative” shields (Aesch. Sept. 375-676), as well as of the shields that cannot be categorized as “ter- rible” and “decorative” (Aesch. Sept. 19; 43; 91; 100; 160). The analysis of this system made it possible to put forward and prove three hypothetical assumptions: 1) In Aeschylus, Eteocles demands from the Thebans to win or die, focusing on the fact that the city cre- ated a special educational space for them and raised them as shield- bearers. His patriotic speeches and, later, his judgments expressed in the “shield scene” demonstrate a desire to justify and then test the educational concept “ἢ τὰν ἢ ἐπὶ τᾶς” (“either with it, or upon it”) (Plut. -
Seven Against Thebes [PDF]
AESCHYLUS SEVEN AGAINST THEBES Translated by Ian Johnston Vancouver Island University, Nanaimo, BC, Canada 2012 [Reformatted 2019] This document may be downloaded for personal use. Teachers may distribute it to their students, in whole or in part, in electronic or printed form, without permission and without charge. Performing artists may use the text for public performances and may edit or adapt it to suit their purposes. However, all commercial publication of any part of this translation is prohibited without the permission of the translator. For information please contact Ian Johnston. TRANSLATOR’S NOTE In the following text, the numbers without brackets refer to the English text, and those in square brackets refer to the Greek text. Indented partial lines in the English text are included with the line above in the reckoning. Stage directions and endnotes have been provided by the translator. In this translation, possessives of names ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hermes and Hermes’ are both two-syllable words). BACKGROUND NOTE Aeschylus (c.525 BC to c.456 BC) was one of the three great Greek tragic dramatists whose works have survived. Of his many plays, seven still remain. Aeschylus may have fought against the Persians at Marathon (490 BC), and he did so again at Salamis (480 BC). -
Ancient Greek Culture, with Its Myths, Philosophical Schools, Wars, Means of Warfare, Had Always a Big Appeal Factor on Me
Södertörns högskola | Institutionen för Humaniora Kandidatuppsats 15 hp | Litteraturvetenskap | Höstterminen 2009 This war will never be forgotten – a study of intertextual relations between Homer’s Iliad and Wolfgang Petersen’s Troy Av: Ieva Kisieliute Handledare: Ola Holmgren Table of contents Introduction 3 Theory and method 4 Previous research and selection of material 6 Men behind the Iliad and Troy 7 The Iliad meets Troy 8 Based on, adapted, inspired – levels of intertextuality 8 Different mediums of expression 11 Mutations of the Iliad in Troy 14 The beginning 14 The middle 16 The end 18 Greece vs. Troy = USA vs. Iraq? Possible Allegories 20 Historical ties 21 The nobility of war 22 Defining a hero 25 Metamorphosis of an ancient hero through time 26 The environment of breeding heroes 28 Achilles 29 A torn hero 31 Hector 33 Are Gods dead? 36 Conclusions 39 List of works cited 41 Introduction Ancient Greek culture, with its myths, philosophical schools, wars, means of warfare, had always a big appeal factor on me. I was always fascinated by the grade of impact that ancient Greek culture still has on us – contemporary people. How did it travel through time? How is it that the wars we fight today co closely resemble those of 3000 years ago? While weaving ideas for this paper I thought of means of putting the ancient and the modern together. To find a binding material for two cultural products separated by thousands of years – Homer‟s the Iliad and Wolfgang Petersen‟s film Troy. The main task for me in this paper is to see the “travel of ideas and values” from the Iliad to Troy. -
The Odyssey Homer's
Excerpt terms and conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity. HOMER’S THE ODYSSEY Drama by GREGORY A. FALLS and KURT BEATTIE ph: 800-448-7469 www.dramaticpublishing.com The Odyssey (Falls and Beattie) © Dramatic Publishing Company Odyssey (Falls and Beattie - O77) OUTSIDE COVER.indd 1 10/20/2011 4:45:41 PM THE ODYSSEY TYA/USA Outstanding Play Award Winner Produced at the John F. Kennedy Center for the Performing Arts and nationally applauded in professional productions, this is an action-filled adaptation of Homer’s classic, entertaining to children and adults alike. Suitable for a versatile ensemble cast implementing masks, songs, mime and percussive instruments for theatrical effect. Drama. Adapted by Gregory A. Falls and Kurt Beattie. From Homer’s The Odyssey. Cast: 6m., 2w., with doubling, or up to 36 (6m., 2w., 28 either gender). As the goddess Athena introduces the story of Odysseus’ epic journey home from the Trojan War, we see his beautiful wife, Penelope, fending off impatient, would-be suitors. Athena, disguised as an old man, brings news of Odysseus’ journey as the play’s action segues to his adventure. -
Abu Dhabi Review: Ferocious, 21St Century Retelling of Homer's Iliad
Abu Dhabi Review: Ferocious, 21st Century Retelling of Homer’s Iliad starring Denis O’Hare at NYU Abu Dhabi The National, By: Rob Garratt, March 15 2017 War is eternal, the urge to create conflict a deep-seated human impulse – that's the depressing, sledgehammer take-home from An Iliad, a modern one-man retelling of Homer's epic poem currently running at The Arts Centre at NYU Abu Dhabi. Actor Denis O'Hare during a dress rehearsal for An Iliad at The Arts Centre at NYU Abu Dhabi. Courtesy NYU Abu Dhabi War is eternal, the urge to create conflict a deep-seated human impulse – that’s the depressing, sledgehammer take-home from An Iliad, a modern one-man retelling of Homer’s epic poem currently running at The Arts Centre at NYU Abu Dhabi. At the evening’s emotional climax, our narrator spouts a list of dozens of conflicts, from ancient times right up to Aleppo. What slaps the psyche hardest is not just the length of the list, but how many of these wars you might never have heard of – and the fatigue inspired by merely hearing the names of the ones you have. Star and co-writer Denis O’Hare’s (True Blood) solo turn as our haggered, bewildered bard is a ferocious tour de force, the Tony winner stalking the Red Theatre’s stark stage with an crusty charisma and commanding physicality. The Storyteller’s purpose is never made clear – nor is the role of the acknowledged audience, the fourth wall distinctly broken by some early call and response. -
The Aeschylean Concept of the Supreme Deity Joseph Joel Devault Loyola University Chicago
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1943 The Aeschylean Concept of the Supreme Deity Joseph Joel Devault Loyola University Chicago Recommended Citation Devault, Joseph Joel, "The Aeschylean Concept of the Supreme Deity" (1943). Master's Theses. Paper 614. http://ecommons.luc.edu/luc_theses/614 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1943 Joseph Joel Devault .' THE AESCHl'LEAH CONCEPT OF THE S UPHElvIE DEI TY.. , By Joseph J"oel DeVault, S.J. A thesis submitted in partial fulfilDuent of the requirements for the degree of Master of Arts in Loyola university. March 1943 i VITA Joseph Joel DeVault, S.J., was born in East St. Luuis, Illinois, December 22, 1918. After his elementary edu&ation at st. J&~es's Parochial School, Toleno, Ohio, he attended st. Jo1'..n I s Hie;h School, Toledo, grad uated. therefrom in June,1935, and after one year at st. John I s College entered. tbe Mil ford Novitiate of the Society ~f Jesus, at Milford Ohio, in September, 1936. For the four years he spent there he was academically connected with Xavier University, Ci!lcinnati, Ohio, from which insti tution b,e was graduated wi th the degree of Bachelor of Literature in June, 1940. -
Humanities 2 Lecture 5 REVIEW: Aeneid Book IV: One of the Great
Humanities 2 Lecture 5 REVIEW: Aeneid Book IV: one of the great love stories of all time; but it is a love story told as a tale of speech and rhetoric, duty and desire. Dido falls in love with Aeneas, in part through the ministrations of Cupid, but also as he is a story-teller: she becomes fascinated not by Aeneas the actor/hero but by Aeneas the tale-teller/poet. She is “inflamed”: the imagery of fire permeates the book Use of similes to locate the interior lives of characters in the exterior world The coupling of Dido and Aeneas represented as a cosmic, meteorological narrative Rumor as a monstrous personification; Rumor as an “anti-poet” Aeneas as morally compromised; Dido as wronged; Virgil as commentator Dido as fiction-maker; her ruse; her theatrical suicide Aeneid Book V: a period of respite; games as rule-governed behavior that displace military prowess on to controlled ritual competition. The boat race as a kind of answer to the story of the Trojan Horse. Today: Book VI The hell-descent: key feature of epic narrative Theory of poetry: the Sybil as a kind of poet figure; truth mixed with obscurity; scenes of interpretation (augury; haruspication) Emotional content: confrontation with the dead “Allegory”: a story of education; the hero’s education as both experiential and tutorial Poetic content and mythology: the Story of Daedalus and Icarus Philosophical content: development of Platonic and Stoic theories of knowledge Performative impact: we know Virgil read passages from this book to Augustus and Octavia (his sister); the legacy of the emotional response to literature. -
An-Iliad-Online-Program.Pdf
directed by Danilo Gambini THE POETS SARAH GASS ESAU GREENE TYRELL LATOUCHE JULIA ORLOFSKI SNEHA SAKHARE CHRISTINA STOEFFLER DARIUS ZAHEDI from the director Greek Amphora from c. 530BC with Trojan War Scene, British Museum from the dramaturg An Iliad is a modern retelling of Homer’s The Iliad. It recounts the story of the Trojan War, and of two legendary fighters, Achilles and Hector. This adaptation encapsulates the essence of the original epic poem with the perfect combination of history and mythology. Most importantly, it tells an ancient story in modern terms with which Western audience members can empathize. Although written as a one-person play, this production of An Iliad features seven ‘poets,’ each with their own unique traits to accentuate their respective parts of the narration. It is a timeless tale of intense love, violent hatred, unwavering loyalty, and undeniable passion. PRODUCTION TEAM ROSE BOCHANSKY ABIGAIL COPELAND TECHNICAL DIRECTION SCENIC DESIGN LIGHTING DESIGN COSTUME DESIGN SOUND DESIGN PROPS VIDEO DESIGN PROGRAM DESIGN DAVID DESROCHER SAVANNAH LAWTON STAGE MANAGER DRAMATURG NEO AVILA EVDOXIA RAGKOU POSTER DESIGN GREEK CONSULTANT DARIUS ZAHEDI SNEHA SAKHARE GUITAR DRUM ALEX DEFUSCO CORTNEY HANNULA SOUND MIXER VIDEO SUPERVIISOR MAYA HUGGINS LYDIA JONES CAMERA OPERATOR SOUND & LIGHTING ASSISTANT APPLE LONGO GALEN KASZNAY CAMERA OPERATOR SOUND TECHNICIAN JANE ROSALES ASSISTANT STAGE MANAGER SPECIAL THANKS NEO AVILA HEATHER PASTIR KEVIN COPELAND WES RENFRO LINDSAY FALCONE BOB SMART ERIC LIN GEORGE SPRENGELMEYER NEIL MULLIGAN DIANE STOCK SARAH GASS Sarah is a first year accelerated dual degree student in the communications program at Quinnipiac University studying public relations and journalism.