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ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
Greek Drama Resources
Greek Drama Resources A Bibliography & Filmography Compiled by Dennis Lee Delaney Head, Professional Director Training Program Ohio University Theater Division, School of Dance, Film, and Theater © 2016 Websites / Internet Resources Ancient Greek Theater Resources Actors of Dionysus (www.actorsofdionysus.com) AOD has earned a reputation for making Greek tragedy seriously sexy (The Guardian) and since 1993 have built up an extensive track record of gripping and wholly accessible productions. Their website chronicles their production history, education publications/workshops, and also has a shop which features scripts, CDs and DVDs. Ancient Greek Drama (www.cbel.com/ancient_greek_drama) This is a useful compendium of 125 manually selected sites on various topics related to Greek drama, including individual articles on the playwrights and their works. Ancient Greek Theater (www.academic.reed.edu/humanities/ 110Tech.html) A page designed to provide an introduction to Ancient Greek Theater and provide tools for further research. Contains timelines, staging issues, bibliography and links. The Ancient Theatre Archive (www.whitman.edu/theatre/ theatretour/home.htm) A virtual reality tour of Greek and Roman Theatre architecture throughout the world, including mainland Europe, North Africa and the United Kingdom. The Archive of Performances of Greek and Roman Drama / University of Oxford (www.apgrd.ox.ac.uk) A comprehensive production history of ancient Greek and Roman drama in modern performance. It contains a database of information on more than -
Les Faux-Monnayeurs: L'écrivain, La Mère Et Le Malin
BULLETIN DES AMIS D'ANDRÉ GIDE dossier MARC ALLÉGRET CINÉASTE ET CRITIQUE XXVIe ANNÉE - VOL. XXI N098 AVRIL 1993 ·~ •========:::~ Bulletin des Amis d'André Gide A VR.ll.. 1993 le Bulletin des Amis d'André Gide revue trimestrielle fondée en 1968 par Claude Martin, dirigée par Claude Martin (1968-1985), puis par DanielMoutote (1985-1988), Daniel Durosay (1989-1991) et Pierre Masson (1992 -7 ), publiée avec l'aide du CENTRE D'ÉTUDES GIDIENNES de l'Université Lumière (Lyon) et le concours du CENTRE NATIONAL DES LEITRES, paraissant en janvier, avril, juillet et octobre, est principalement diffusé par abonnement annuel ou compris dans les publications servies aux membres de l'ASSOCIATION DES AMIS D'ANDRÉ GIDE au titre de leur cotisation pour r année en cours. * Comité de lecture : Elaine D. CANCALON. Jean CLAUDE, Daniel DUROSAY, Alain GOULET, Henri HEINEMANN, Robert MALLET, Claude MARTIN, Pierre MASSON, Daniel MOUTOTE * Toute correspondance doit être adressée relative au BAAG, à PIERRE MASSON, directeur responsable de la Revue, 92, rue du Grand Douzillé,49000 Angers (tél. 41.66.72.51) relative à l' AAAG, à HENRI HEINEMANN, secrétaire général de 1' Association, 59, avenue Carnot, 80410 Cayeux-sur-Mer (tél. 22.26.66.58) BULLETIN DES AMIS D ' ANDRÉ GIDE VINGT-SIXIEME ANNEE- VOL. XXI, N° 98- AVRIL 1993 Martine SAGAERT: Les Faux-Monnayeurs: l'Écrivain, la Mère et le Malin. .. ........ .... ... •.... .. .. ..... ... ..... .. .... ........ .. ..... ... ......... .. .. ... 163 David S1EEL : George Bernard Shaw lecteur de Retour de l'UR.S.S..................................................................................... 189 Robert LEVESQUE: JOURNAL INÉDIT (suite). Carnet XXI: mars-juin 1937 (fin). ................................................................. 195 Sur << Les Nourritures terrestres » Daniel DUR OSA Y : Ménalque à Marseille. -
4 Modern Shakespeare Festivals
UNIVERSIDAD DE MURCIA ESCUELA INTERNACIONAL DE DOCTORADO Festival Shakespeare: Celebrating the Plays on the Stage Festival Shakespeare: Celebrando las Obras en la Escena Dª Isabel Guerrero Llorente 2017 Page intentionally left blank. 2 Agradecimientos / Acknoledgements / Remerciments Estas páginas han sido escritas en lugares muy diversos: la sala becarios en la Universidad de Murcia, la British Library de Londres, el centro de investigación IRLC en Montpellier, los archivos de la National Library of Scotland, la Maison Jean Vilar de Aviñón, la biblioteca del Graduate Center de la City University of New York –justo al pie del Empire State–, mi habitación en Torre Pacheco en casa de mis padres, habitaciones que compartí con Luis en Madrid, Londres y Murcia, trenes con destinos varios, hoteles en Canadá, cafeterías en Harlem, algún retazo corregido en un avión y salas de espera. Ellas son la causa y el fruto de múltiples idas y venidas durante cuatro años, ayudándome a aunar las que son mis tres grandes pasiones: viajar, el estudio y el teatro.1 Si bien los lugares han sido esenciales para definir lo que aquí se recoge, aún más primordial han sido mis compañeros en este viaje, a los que hoy, por fin, toca darles las gracias. Mis primeras gracias son para mi directora de tesis, Clara Calvo. Gracias, Clara, por la confianza depositada en mí estos años. Gracias por propulsar tantos viajes intelectuales. Gracias también a Ángel-Luis Pujante y Vicente Cervera, quienes leyeron una versión preliminar de algunos capítulos y cuyos consejos han sido fundamentales para su mejora. Juanfra Cerdá fue uno de los primeros lectores de la propuesta primigenia y consejero excepcional en todo este proceso. -
Translation of Aristophanes' Acharnians
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department 4-2018 οἴμοι τάλας: A Modern[ist] Translation of Aristophanes’ Acharnians Jake Sawyer Macalester College, [email protected] Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Part of the Classics Commons Recommended Citation Sawyer, Jake, "οἴμοι τάλας: A Modern[ist] Translation of Aristophanes’ Acharnians" (2018). Classics Honors Projects. 25. http://digitalcommons.macalester.edu/classics_honors/25 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. οἴμοι τάλας: A Modern[ist] Translation of Aristophanes’ Acharnians by Jake Sawyer Advisor: Professor Beth Severy-Hoven in the Department of Classical Mediterranean and Middle East April 2018 1 A NOTE FROM THE TRANSLATOR In translating any Classical text, one must acknowledge just how far removed the author is from the translator. Standing between the two figures are differences of culture, structures of authority, and most obviously, language. Despite being heralded by some as the birthplace of Western Civilization, ancient Athens often seems strange to our modern eyes. Many translations and adaptations of Classics works seek to familiarize, often truly for the audience’s benefit, but this mode crucially ignores the foreignness of the Ancient World. In this translation of Aristophanes’ Acharnians, I have chosen to embrace the Greekness of this play, however awkward it may be in places. I do this not for the sake of realism or scholarly accuracy, but to reinterpret and give the play a new meaning for modern audiences. -
Penguin Classics • 560 Pp
PENGUIN GROUP (USA) CLASSICS books for courses MMXVII 2017 PENGUIN PUBLISHING GROUP CLASSICS BOOKS FOR COURSES 2017 TABLE OF CONTENTS/ROBERT FAGLES CLASSICS 2017 Examination and personal copy forms are available at the back of the catalog. For personal service, adoption assistance, and complimentary exam copies, sign up for our College Faculty Info Service at http://www.penguin.com/facinfo ROBERT FAGLES TABLE OF CONTENTS Robert Fagles ............................ 2 Homer Virgil THE ODYSSEY THE AENEID Ancient Greece .......................... 3 Translated by Robert Fagles Translated by Robert Fagles Aristotle................................ 4 Introduction and Notes by Bernard Knox Introduction by Bernard Knox Euripides .............................. 6 “Restores the original joys of the performing “Fagles’ new version of Virgil’s epic delicately Plato ...................................... 9 bard.”—Time. “The right blend of sophistica- melds the stately rhythms of the original to a Sophocles .......................... 10 tion and roughness.”—Ted Hughes. “Fagles contemporary cadence....He illuminates the has been remarkably successful in finding a poem’s Homeric echoes while remaining Ancient Rome .......................... 10 style that is of our time and yet timeless, faithful to Virgil’s distinctive voice.”—The New Cicero .................................. 12 dignified and yet animated by the vigor and Yorker. “A majestic achievement. If you look energy essential to any good rendering of up any line in the poem that is particularly Around the Ancient World .... 17 this poem.”—The New York Times Book Review. dear to your heart, chances are that you will The Fertile Crescent ......... 17 Penguin Classics • 560 pp. • 978-0-14-303995-2 • $17.00 forget that you are reading a translation, so PEN/Ralph Manheim Medal for Translation; Ancient Egypt .................. -
Éditions De L'arche Inventaire
Éditions de l'Arche Inventaire Versement de 2001 Cotes : 189ARC/1 – 189ARC/95 avril 2011 révisé en novembre 2018 © Imec - Tous droits réservés Introduction Identification Notice historique Les Éditions de L’Arche, fondées en 1948 par Robert Voisin, avaient pour première ambition de faire plus largement connaître de grands textes théoriques ordinairement réservés à des spécialistes. Mais dès 1951, L’Arche s’associa à l’expérience du Théâtre national populaire conduite par Jean Vilar : cette collaboration, ainsi que la création deux ans plus tard de la revue Théâtre populaire (animée par Roland Barthes, Bernard Dort, Guy Dumur et Jean Duvignaud), marqua le coup d’envoi d’une politique éditoriale aujourd’hui encore largement consacrée à l’art théâtral. La rencontre de Robert Voisin avec Bertolt Brecht en 1952 confirma l’identité de la maison et marqua l’introduction de la littérature dramatique contemporaine allemande en France. Tout en se tournant également vers le domaine russe et anglo-saxon, L’Arche participa à la découverte d’auteurs contemporains français (Michel Vinaver, Michel Deutsch, Chantal Ackerman). La maison, dirigée depuis 1986 par Rudolph Rach, propose un catalogue d’environ 250 titres rassemblant les œuvres des plus grands dramaturges et artistes du XXe siècle. Contenu et structure Présentation du contenu Les archives des Éditions de l’Arche sont des archives professionnelles constituées au fil des publications depuis la création de la maison. L'un des intérêts du fonds réside dans l'importance des relations de l'éditeur avec ses traducteurs. On y trouve quatre ensembles : 1. Des dossiers d’archives éditoriales, classés par nom d’auteur ou de traducteur et composés de correspondances, contrats et relevés de droits, de 1947 à 1985, avec de nombreux dossiers sur Bertolt Brecht, Sean O’Casey, Eugene O’ Neill, Strindberg ou Tchekov ; 2. -
Brilliant Minds Wiki Spring 2016 Contents
Brilliant Minds Wiki Spring 2016 Contents 1 Rigveda 1 1.1 Text .................................................... 1 1.1.1 Organization ........................................... 2 1.1.2 Recensions ............................................ 2 1.1.3 Rishis ............................................... 3 1.1.4 Manuscripts ............................................ 3 1.1.5 Analytics ............................................. 3 1.2 Contents .................................................. 4 1.2.1 Rigveda Brahmanas ........................................ 5 1.2.2 Rigveda Aranyakas and Upanishads ............................... 5 1.3 Dating and historical context ....................................... 5 1.4 Medieval Hindu scholarship ........................................ 7 1.5 Contemporary Hinduism ......................................... 7 1.5.1 Atheism, Monotheism, Monism, Polytheism debate ....................... 7 1.5.2 Mistranslations, misinterpretations debate ............................ 8 1.5.3 “Indigenous Aryans” debate .................................... 8 1.5.4 Arya Samaj and Aurobindo movements .............................. 8 1.6 Translations ................................................ 8 1.7 See also .................................................. 8 1.8 Notes ................................................... 8 1.9 References ................................................. 9 1.10 Bibliography ................................................ 12 1.11 External links .............................................. -
PIASA 210611+Couv.Indd
LETTRES ET MANUSCRITS AUTOGRAPHES Alexis VELLIET Henri-Pierre TEISSEDRE Delphine de COURTRY Commissaires-priseurs EXPERT : Thierry BODIN 5 rue Drouot 75009 Paris - Tél. : +33 (0) 1 53 34 10 10 - Fax : +33 (0) 1 53 34 10 11 - [email protected] - www.piasa.fr PIASA SA - Ventes volontaires aux enchères publiques - agrément n° 2001-020 MARDI 21 JUIN 2011 - DROUOT RICHELIEU COUV PIASA 210611.indd 1 26/05/11 15:10 PIASA ESTIMATIONS GRATUITES ET CONFIDENTIELLES SANS RENDEZ-VOUS Alexis VELLIET Henri-Pierre TEISSEDRE Delphine de COURTRY Commissaires-priseurs 5, rue Drouot 75009 Paris Tél. : +33 (0) 1 53 34 10 10 Fax : +33 (0) 1 53 34 10 11 [email protected] www.piasa.fr Piasa SA Ventes volontaires aux enchères publiques - agrément n° 2001-020 COUV PIASA 210611.indd 2 26/05/11 15:10 Alexis Velliet Henri-Pierre Teissèdre Delphine de Courtry LETTRES ET MANUSCRITS AUTOGRAPHES MARDI 21 JUIN 2011 - 14 H 00 DROUOT RICHELIEU - SALLE 11 9 rue Drouot, 75009 Paris + 33 (0)1 48 00 20 11 EXPOSITION PRIVÉE : chez l’expert uniquement sur rendez-vous EXPOSITIONS PUBLIQUES : DROUOT RICHELIEU - salle 11 Lundi 20 juin 2011 de 11 h à 18 h EXPERT : Thierry BODIN, Les Autographes Syndicat Français des Experts Professionnels en Œuvres d’Art 45, rue de l’Abbé Grégoire - 75006 Paris Tél. : + 33 (0)1 45 48 25 31 - Fax : + 33 (0)1 45 48 92 67 [email protected] RENSEIGNEMENTS CHEZ PIASA : Stéphanie Trifaud Tél. : + 33 (0)1 53 34 10 13 [email protected] CONTACT PRESSE PIASA : Isabelle de Puységur Tél. -
Rewriting the Greeks: the Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009
Rewriting the Greeks: The Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009. Dissertation Presented in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Bethany Rose Banister Rainsberg, M.A. Graduate Program in Theatre The Ohio State University 2010 Dissertation Committee: Dr. Stratos E. Constantinidis, Advisor Dr. Bruce Heiden Dr. Joy Reilly Dr. Anthony Hill Copyright by Bethany Rose Banister Rainsberg 2010 Abstract The purpose of this study is to examine the practices of rewriting Aeschylus’ tragedies for American audiences and the manner in which these rewrites are “read” by stage directors who adapt them in their academic and non-academic theatre productions in the United States. In order to analyze the translation and performance practices of Aeschylus’ plays, this study will examine all English language translations, adaptations, and distant relatives of Aeschylus’ works for the twenty and twenty-first centuries and analyze key moments that connect and illuminate those works. The two central questions that drive this investigation are: (1) what kind of choices have the English-speaking translators made regarding the tragedies of Aeschylus, and (2) how have Aeschylus’ tragedies been rewritten by the practitioners of the American stage? Because of the proliferation and variance of Aeschylean translations into English, and research published to-date, an examination of these practices and texts provides a rich source for analyzing the larger issues of practice and critical evaluation of translation and performance. The seven tragedies of Aeschylus (Agamemnon, Libation Bearers, Eumenides, Prometheus Bound, Persians, Suppliants, and Seven Against Thebes) and the manner in which they plays have been interpreted by translators and producers from 1900 to 2009 will provide the data for this study. -
“WAR in ANCIENT GREEK DRAMA” SYLLABUS Taught by Dr
HUMANITIES SEMINARS PROGRAM, Spring 2016 “WAR IN ANCIENT GREEK DRAMA” SYLLABUS Taught by Dr. BELLA VIVANTE, Professor Emerita of Classics [email protected] http://classics.arizona.edu/node/109 WELCOME to this exploration of Ancient Greek dramatic portrayals of warfare! As a child of the 1960s I fully believed peace was possible in our time. But global realities show that’s not imminently likely. To the Ancient Greeks war was an unquestionable fact of life, recognized for its horrors and idealized for the benefits it was seen to confer. Because these ancient views contrast so dramatically from contemporary Western ones, they can offer valuable insights into ideas about war that still influence our thinking, especially in connection with the wars and enemies we are fighting today. TEXTS – NOTE: Any translation of the assigned plays is acceptable. The texts ordered aim to provide decent translations in as few volumes as possible. Below each text I list the plays included. TEXTS ORDERED: REQUIRED: Aeschylus Oresteia, trans. by Peter Meineck. Hackett Publishing, 1998. ISBN 978-0-87220-390-7. Play: Agamemnon The Complete Aeschylus, vol. II: Persians and Other Plays, trans. by Peter Burian and Alan Shapiro. Oxford University Press, 2009. ISBN: 9780195373288. Plays: The Persians, Seven Against Thebes The Complete Sophocles, vol. II: Electra and Other Plays, trans. by Peter Burian and Alan Shapiro, Oxford University Press, 2009. ISBN: 9780195373301. Plays: Ajax, Philoctetes Electra and Other Plays: Euripides, trans. by John Davie. Penguin Classics, 1999. ISBN 9780140446685. Plays: Hecuba, The Suppliant Women, The Trojan Women Aristophanes: The Complete Plays, trans. by Paul Roche. -
1 FONDS ROUVET 4-JR Plan De Classement 1
FONDS ROUVET 4-JR Plan de classement 1. Généralités 1.1. Eléments de biographie 1.2. Correspondance 1.3. Profession 2. Instructeur d’Art dramatique Ministère de la Jeunesse et des Sports 1946-51 2.1. Généralités 2.2. Centre d’éducation populaire de Romagne, 1948 2.3. Centre d’éducation populaire d’Houlgate, 1949 2.4. Centre d’éducation populaire de Phalempin, 1950 2.5. Rencontre de la jeunesse européenne à la Lorelei, 1951 2.6. Concours de théâtre 3. Administrateur du TNP, 1951-1959 3.1. Généralités TNP 3.2. Administration 3.3. Saisons et tournées 4. Jean Vilar et le TNP après 1959 4.1. Saisons 1959-1963 4.2. TNP Wilson 4.3. Correspondance avec Jean Vilar 4.4. Presse et documentation sur Jean Vilar et Gérard Philipe 4.5. Correspondance avec Paul Puaux 4.6. Fondation Jean Vilar 5. Carrière 1959-1966 5.1. Association Loisirs, Discothèque de France 5.2. Ministère des Affaires culturelles 5.3. Centre national de diffusion culturelle 5.4. Gaîté lyrique 5.5. Collège d’échanges contemporains Saint Maximin La Sainte Beaume 6. Conseil culturel 1966-1986 6.1. Croisières Paquet 6.2. Bureau d’études scénographiques Camille Demangeat 6.3. Théâtre municipal de Paris 6.4. Chateauvallon 6.5. Sigma, Bordeaux 6.6. Compagnie du Cothurne, Lyon 6.7. Théâtre de la Commune, Aubervilliers 6.8. Maison des Arts et loisirs, Le Creusot 6.9. Parc des Cévennes 6.10. Théâtre Gérard Philipe, Saint Denis 6.11. Centre lyrique populaire de France 6.12. Nouveau théâtre national de Marseille 6.13.