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Uncivil Liberties and Libertines: Empire in Decay
Uncivil Liberties and Libertines: Empire in Decay MARIANNE MCDONALD 1. I’ve been a film nut from the time my parents would park me in a film theatre as their form of baby-sit- ting. My father invented phone vision, which was an early version of cablevision that allowed us to see newly released movies at home on our round television screen, which looked like an old Bendix washing machine. I wrote one of the earliest books on classics in cinema—and soon after, more books on the topic followed mine.1 I looked forward to seeing the films described in Ancient Rome, many of which I had not seen because I have avoided blood-fest films which invite being described with gore-filled ecstasy. (I have also avoided slasher movies, holocaust movies, and kiddie movies because they disturbed my possibly misguided sensi- bility.) The choices of films in Elena’s Theodorakopoulos’ book are all the work of interesting directors—some better than others, but the quality is, for the most part, high. The writ- ers for all these film scripts are generally outstanding. Good photography also seems to be a given. As we are told in the conclusion, “Whatever the story, spectacle is never far from Rome.” The key to assessing these treatments lies in the interpreta- tion of the portrayal of violence. Are we, the audience, ad- miring it? Calling for it, as we call for it in films by Quentin Tarentino, beginning with Reservoir Dogs (1992), or the se- ries called Saw, the seventh version (2010) now in 3-d? Do Elena Theodorakopoulos, Ancient Rome at the Cinema: Story and Spectacle in Hollywood and Rome. -
Illinois Classical Studies
Orestes' Mania: Euripides', Mee's and Bogart's Apocalyptic Vision MARIANNE MCDONALD In the Phaedrus, Plato shows that mania can be destructive, but also that it can be creative. It can lead to egocentric isolation or social integration. Plato, through his persona Socrates, talks about the mania of love both negatively and positively. The jealous drive for possession can easily crush the love object, or it can lead to the perception of the good and the beautiful, which he claims is the ultimate end of life {Phaedrus lAAdt. ff.). There is a human madness, which is mostly harmful, and a divine madness, which is fourfold (265a ff.) and beneficial: first, the mania of Apollo, i.e., of a prophet; second, the mania of Dionysus, a cult mania, that of the mystic that in traditional depictions of Orestes ultimately leads to the expiation of his guilt and thus purification (244e); third, the mania of the artist, or the creator, which is associated with the Muses; and, fourth, the ultimate mania, the love of what is everlasting, the love of truth and beauty: The ultimate lover is the philosopher, and this lover is subject to Eros and Aphrodite. The praise of this last mania continues in Plato's Symposium, where the end is also beauty/good (x6 KaXov). Plato takes traditional myths and concepts oi mania and links them to his philosophy. Plato's conception of mania helps us understand Euripides' work by contrast: Orestes shows how mania unhooked from the gods and from idealism can create the ultimate nighunare. It is human, all loo human. -
Event Program Here
27th Anniversary Women’s International Center Living Legacy Awards May 5 2012 Women’s International Center Living Legacy Awards Welcome! Honoring, Encouraging and Educatng Women for More tan a Quartr Century... Since its founding in 1982, Women’s Intrnatonal Centr (WIC) has demanded excelence of itself and al tose affiliatd wit te organizaton. Beginning in 1984, WIC has publicly honored excelence, accomplishment, philantropy and humanitarianism trough te Living Legacy Awards. From tat glorious beginning t tday, over two hundred of te world’s exceptonal contibutrs have acceptd te Living Legacy Award. Te Award has been presentd t presidents, heads of stat, first ladies, educatrs, film and stage actrs, scientsts, atlets, business and military leaders, politcal personalites, and oter remarkable individuals and organizatons contibutng t te beterment of oters. Please join us tday Saturday May 5, 2012, in celebratng te accomplishments of tis year’s Living Legacy Award Honorees, in support of our educatonal scholarship fnds. We tank te Crowne Plaza Hanalei and teir Supportve Team. Women’s Intrnatonal Centr (501c3) A non-profit service and educaton foundaton Fed Tax ID 95-3806872 CA non-profit #D113-1510 PO Box 669 Rancho Santa Fe, CA 92067-0669 Phone & Fax: 858 759 3567 websit www.wic.org Gloria: [email protected] (please cc [email protected] ) CEO: [email protected] CFO: [email protected] Cover Photos: Living Legacy Honorees Top: Lucy C Lin, Ashley Gardner, Mary B. Maschal Tribute, Velina Hasu Houston, Ph.D., Mary Lyons Ph.D., Chairman Heng-Tzu Hsu, Thomas Del Ruth, ASC, Patricia West Del Ruth, David Straus Middle: Mary Cain Youngflesh, June Foray WIC Leadership: Gloria Lane President, Bridget McDonald CEO, Sally B. -
1 Sophocles' Antigone Introduction, Translation, and Notes by Marianne Mcdonald, Ph.D., MRIA
Sophocles' Antigone Introduction, translation, and notes by Marianne McDonald, Ph.D., MRIA 1 Copyright 2000, NICK HERN BOOKS Introduction Sophocles is the playwright of heroism, and Antigone the first female character in drama to be a hero in the full sense of the word. She is the first conscientious objector. The play is often performed as veiled criticism of the government prevailing at the time to show that something is rotten in that particular state. First, I offer a look at tragedy as it was originally performed, then Sophocles' other work, and its later influence, finally a close look at the Antigone , with suggestions to facilitate an eventual performance. The Performance of Tragedy The first performance of a tragedy is attributed to Thespis, ca. 534 B. C. in Athens. He had only one actor, who differentiated himself from the chorus, and Aristotle tells us that Aeschylus added a second actor and that Sophocles added a third, creating more possibilities for interchange and conflict. The three actors were called Protagonist, Deuteragonist, and Tritagonist (first, second, and third actor), and if further parts were needed, they were divided between them. Since all the actors were male, masks allowed them to play female roles. Masks particularly suited actors in the large theatres in which they performed. There were also supernumeraries, or nonspeaking parts, such as attendants and children. An actor was called a hypokritês , which meant "one who answers, an interpreter, expounder." Aristotle tells us that Sophocles introduced scene- painting to suggest a visual background. At the main Athenian dramatic festival, the Greater Dionysia, each dramatist put on three tragedies and one satyr play which comically handled tragic themes. -
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. -
Graeae Commissions Plays by Disabled People and Encourages
UNIVERSITY OF CALIFORNIA, SAN DIEGO UNIVERSITY OF CALIFORNIA, IRVINE The Empty Center: Acting Out Theatric Alliance in Three Texts by Sarah Kane A Dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Drama and Theatre by Summer Neilson Moshy Committee in charge: Professor Marianne McDonald, Chair Professor Nadine George-Graves Professor Anthony Kubiak Professor Emily Roxworthy Professor Donald Wesling 2008 Copyright Summer Neilson Moshy, 2008 All rights reserved. The Dissertation of Summer Neilson Moshy is approved, and it is acceptable in quality and form for publication on microfilm: Chair University of California, San Diego University of California, Irvine 2008 iii DEDICATION I dedicate this dissertation to myself because that is who I discovered while writing it. iv TABLE OF CONTENTS Signature Page…………………………………………………………. iii Dedication…………………………………………………….............. iv Table of Contents……………………………………………………... v List of Photographs…………………………………………………… vi Acknowledgements…………………………………………………… vii Vita, Publications, and Fields of Study……………………………… ix Abstract……………………………………………………………….. x Introduction: Critical Inspiration: (Re)membering Sarah Kane‟s Body of Work ……………………………………………………….. 1 Chapter One: Chopping Away at the Façade: Corporal Engagement with the Myth of Blasted……………………………………… 42 Chapter Two: “It‟s Not Me, It‟s You.” The Lack of Dramatic Opportunity within Phaedra‟s Love.……….…………………………......... 92 Chapter Three: Letting Out the Blood: Relieving 4.48 Psychosis……. 127 Conclusion: (R)Evolving Kane………..……………………………… 183 Bibliography………………………………………………………….. 189 v LIST OF PHOTOGRAPHS Fig. 1.1: Mianus River Bridge Collapse in Greenwich, Connecticut………….. 60 Fig. 1.2: Graeae‟s e-Flyer for their 2006 tour of Blasted……………………… 62 Fig. 2.1: Phaedra's Love in the Tm-una theatre in Tel Aviv, Israel..……..…… 119 Fig. -
Irish Antigones
IRISH ANTIGONES by Aikaterini Gotsi A Thesis Submitted for the degree of Doctor of Philosophy in COMPARATIVE LITERATURE UNIVERSITY COLLEGE LONDON FEBRUARY 2012 1 ABSTRACT This thesis examines the reception of Sophocles’ Antigone in Ireland from 1984 to 2004, in the light of the social and political developments that took place in the country during that period. Chapter 1 examines the textual elements of translation, as well as the different ways in which the mythic element of the tragedy and the characterisation are ‘translated’ in different versions. Chapters 2-4 explore particular dimensions of contextual significance: politics, religion, gender. Each chapter first offers a brief discussion of the relevant Irish circumstances, comparing and contrasting them with the socio-political context of Sophocles’ Athens. Then, it examines the extent, the degree and the different ways in which the translations reflect and engage with aspects of the writers’ contemporary reality. Chapter 5, finally, deals with the scenic representation of the plays as a different and complementary aspect of translation, looking at the degree and the ways in which the different stagings reflect the Sophoclean play, the translations in question and the larger social and political contexts of adaptation. Antigone proves to be a remarkably flexible medium for the expression of strikingly different social and political agendas over time. Overall the thesis finds that, while the writers of the earlier versions reflect through the Sophoclean tragedy the turbulent Irish society of the early 1980s, the writers of the turn of the millennium, living in a globalised era, and with a more settled Ireland, locate the reworking of the myth within a more international outlook. -
Honor Roll of Donors
2009–10 HONOR ROLL OF DONORS Dear Friends, As we celebrate UC San Diego’s 50th Anniversary year, we recognize that the university’s incredible ascent in higher education is the result of the hard work and fortitude of many stellar individuals. Among these visionaries are donors, faculty, and administrators who had the courage and foresight to dream big. UC San Diego now ELLOR ranks among the very top institutions in the world, many of which have hundreds of years of history. C Collectively, your generosity during fiscal year 2009–10 contributed $147 million in support of our campus. These vital contributions encourage students to pursue advanced degrees and allow us to retain award-winning faculty, care for patients, and advance significant research. Two noteworthy gifts from longtime UC San Diego supporters deserve mention. The generous pledge from Joan and Irwin Jacobs of $75 million for the new Jacobs Medical Center is the catalyst we need to change health care as we know it in our region. Generations of patients and their families will benefit from the Jacobs family’s unprecedented gift to Health Sciences. Rita and Richard Atkinson’s thoughtful commitment of $5.7 million for graduate THE CHAN fellowships represents the largest gift to date for Invent the Future: The UC San M Diego Student Support Campaign. As former chancellor and UC president, Richard and his wife, Rita, personally understand that graduate students spur innovation and research, as well as support undergraduate instruction. I am enormously grateful to you and all of our donors. Your generous gifts support our students and faculty in their education and research endeavors, which has allowed our campus to grow and evolve tremendously in the last fifty years. -
Irish Antigones
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery IRISH ANTIGONES by Aikaterini Gotsi A Thesis Submitted for the degree of Doctor of Philosophy in COMPARATIVE LITERATURE UNIVERSITY COLLEGE LONDON FEBRUARY 2012 1 ABSTRACT This thesis examines the reception of Sophocles’ Antigone in Ireland from 1984 to 2004, in the light of the social and political developments that took place in the country during that period. Chapter 1 examines the textual elements of translation, as well as the different ways in which the mythic element of the tragedy and the characterisation are ‘translated’ in different versions. Chapters 2-4 explore particular dimensions of contextual significance: politics, religion, gender. Each chapter first offers a brief discussion of the relevant Irish circumstances, comparing and contrasting them with the socio-political context of Sophocles’ Athens. Then, it examines the extent, the degree and the different ways in which the translations reflect and engage with aspects of the writers’ contemporary reality. Chapter 5, finally, deals with the scenic representation of the plays as a different and complementary aspect of translation, looking at the degree and the ways in which the different stagings reflect the Sophoclean play, the translations in question and the larger social and political contexts of adaptation. Antigone proves to be a remarkably flexible medium for the expression of strikingly different social and political agendas over time. Overall the thesis finds that, while the writers of the earlier versions reflect through the Sophoclean tragedy the turbulent Irish society of the early 1980s, the writers of the turn of the millennium, living in a globalised era, and with a more settled Ireland, locate the reworking of the myth within a more international outlook.