Lecture 34 Good Morning and Welcome to LLT121 Classical Mythology
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An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee's Iphigenia
An Examination of the Correlation Between the Justification and Glorification of War in Charles Mee’s Iphigenia 2.0: A Director’s Approach Caroline Donica Table of Contents Chapter One: Charles Mee and the History Behind Iphigenia 2.0 4 Introduction 4 The Life and Works of Charles Mee 4 Just War 8 Production History and Reception 11 Survey of Literature 13 Conclusion 15 Chapter Two: Play Analysis 16 Introduction 16 Synopsis 16 Given Circumstances 24 Previous Action 26 Dialogue and Imagery 27 Character Analysis 29 Idea and Theme 34 Conclusion 36 Chapter Three: The Design Process 37 Introduction 37 Production Style 37 Director’s Approach 38 Choice of Stage 38 Collaboration with Designers 40 Set Design 44 Costumes 46 Makeup and Hair 50 Properties 52 Lighting 53 Sound 55 Conclusion 56 Chapter Four: The Rehearsal Process 57 Introduction 57 Auditions and Casting 57 Rehearsals and Acting Strategies 60 Technical and Dress Rehearsals 64 Performances 65 Conclusion 67 Chapter Five: Reflection 68 Introduction 68 Design 68 Staging and Timing 72 Acting 73 Self-Analysis 77 Conclusion 80 Appendices 82 A – Photos Featuring the Set Design 83 B – Photos Featuring the Costume Design 86 C – Photos Featuring the Lighting Design 92 D – Photos Featuring the Concept Images 98 Works Consulted 102 Donica 4 Chapter One Charles Mee and the History Behind Iphigenia 2.0 Introduction Charles Mee’s Iphigenia 2.0 is a significant work in recent theatre history. The play was widely recognized and repeatedly produced for its unique take on contemporary issues, popular culture, and current events set within a framework of ancient myths and historical literature. -
Essay 2 Sample Responses
Classics / WAGS 23: Second Essay Responses Grading: I replaced names with a two-letter code (A or B followed by another letter) so that I could read the essays anonymously. I grouped essays by levels of success and cross-read those groups to check that the rankings were consistent. Comments on the assignment: Writers found all manner of things to focus on: Night, crying, hospitality, the return of princes from the dead (Hector, Odysseus), and the exchange of bodies (Hector, Penelope). Here are four interesting and quite different responses: Essay #1: Substitution I Am That I Am: The Nature of Identity in the Iliad and the Odyssey The last book of the Iliad, and the penultimate book of the Odyssey, both deal with the issue of substitution; specifically, of accepting a substitute for a lost loved one. Priam and Achilles become substitutes for each others' absent father and dead son. In contrast, Odysseus's journey is fraught with instances of him refusing to take a substitute for Penelope, and in the end Penelope makes the ultimate verification that Odysseus is not one of the many substitutes that she has been offered over the years. In their contrasting depictions of substitution, the endings of the Iliad and the Odyssey offer insights into each epic's depiction of identity in general. Questions of identity are in the foreground throughout much of the Iliad; one need only try to unravel the symbolism and consequences of Patroclus’ donning Achilles' armor to see how this is so. In the interaction between Achilles and Priam, however, they are particularly poignant. -
AGAMEMNON PROLOGUE: Lines 1-39
AGAMEMNON PROLOGUE: Lines 1-39 GUARD: Watching from a WatchTower in Argos for the beacon of light announcing the fall of Troy! Laments of how long he has waited and watched with “elbow-bent, doglike,” without sleep. At prologues end, the beacon of light has brightened the sky. Guard has much joy, and hope that this will turn the house around. Imagery: Light/ Dark Lines 16-18: We know there is something amiss with how the house is being “administered.” The mix of anticipation and foreboding sets mood of the play. Something’s Coming. PARADOS: Prelude Lines 40- 103 What Character is the Chorus Playing? Lines 72-76 PRELUDE Continued WHAT’S GOING ON? - Trojan War has just ended after 10 years, but how did it began? MENELAUS- KING OF SPARTA AGAMEMNON- KING OF ARGOS/ BROTHER OF MENELAUS Vs. PARIS (ALEXANDER)- PRINCE OF TROY HELEN- Once Wife of Menelaus now Wife of Paris (Clytemnestra's Sister) “Promiscuous Girl, Stop Teasing Me” NESTRA: WAIT, SO MY HUSBAND LEFT TO FIGHT A WAR TO FORCE MY \ SISTER TO STAY MARRIED TO HIS BROTHER? CHORUS: YES, CLYTEMNESTRA. NESTRA: ALRIGHT, COOL. SO, I’M JUST GONNA TRY TO TAKE CARE OF THIS KINGDOM OF ARGOS THEN, I GUESS. CHORUS: BUT, WHY ARE YOU BURNING ALL THESE SACRIFICES FOR THE GODS AND ORDERING ALL THESE CELEBRATIONS? NESTRA: WELL… CHORUS: IMMA LET YOU FINISH BUT, I GOTTA TELL YOU ABOUT THIS OTHER MESS REAL QUICK.. PARADOS: Three-Part ODE Part One: STROPHE (East To West, or From Stage Right) ANTISTROPHE (West to East, or From Stage Left) EPODE (From Center, could be by one member of chorus or multiple) CALCHAS: I’m a Soothsayer and those two eagles eating that pregnant rabbit means VICTORY for the two brothers! ARTEMIS: Yes, but those eagles killed a pregnant rabbit. -
Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell
STUDY GUIDE Photo of Mark L. Montgomery, Stephanie Andrea Barron, and Sandra Marquez by joe mazza/brave lux, inc Sponsored by Iphigenia in Aulis by Euripides Translated by Nicholas Rudall Directed by Charles Newell SETTING The action takes place in east-central Greece at the port of Aulis, on the Euripus Strait. The time is approximately 1200 BCE. CHARACTERS Agamemnon father of Iphigenia, husband of Clytemnestra and King of Mycenae Menelaus brother of Agamemnon Clytemnestra mother of Iphigenia, wife of Agamemnon Iphigenia daughter of Agamemnon and Clytemnestra Achilles son of Peleus Chorus women of Chalcis who came to Aulis to see the Greek army Old Man servant of Agamemnon, was given as part of Clytemnestra’s dowry Messenger ABOUT THE PLAY Iphigenia in Aulis is the last existing work of the playwright Euripides. Written between 408 and 406 BCE, the year of Euripides’ death, the play was first produced the following year in a trilogy with The Bacchaeand Alcmaeon in Corinth by his son, Euripides the Younger, and won the first place at the Athenian City Dionysia festival. Agamemnon Costume rendering by Jacqueline Firkins. 2 SYNOPSIS At the start of the play, Agamemnon reveals to the Old Man that his army and warships are stranded in Aulis due to a lack of sailing winds. The winds have died because Agamemnon is being punished by the goddess Artemis, whom he offended. The only way to remedy this situation is for Agamemnon to sacrifice his daughter, Iphigenia, to the goddess Artemis. Agamemnon then admits that he has sent for Iphigenia to be brought to Aulis but he has changed his mind. -
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. -
A Philosophical Inquiry Into the Development of the Notion of Kalos Kagathos from Homer to Aristotle
The University of Notre Dame Australia ResearchOnline@ND Theses 2006 A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle Geoffrey Coad University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Coad, G. (2006). A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle (Master of Philosophy (MPhil)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/13 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. A PHILOSOPHICAL INQUIRY INTO THE DEVELOPMENT OF THE NOTION OF KALOS KAGATHOS FROM HOMER TO ARISTOTLE Dissertation submitted for the Degree of Master of Philosophy Geoffrey John Coad School of Philosophy and Theology University of Notre Dame, Australia December 2006 TABLE OF CONTENTS Abstract iv Declaration v Acknowledgements vi INTRODUCTION 1 CHAPTER 1: The Fish Hook and Some Other Examples 6 The Sun – The Source of Beauty 7 Some Instances of Lack of Beauty: Adolf Hitler and Sharp Practices in Court 9 The Kitchen Knife and the Samurai Sword 10 CHAPTER 2: Homer 17 An Historical Analysis of the Phrase Kalos Kagathos 17 Herman Wankel 17 Felix Bourriott 18 Walter Donlan 19 An Analysis of the Terms Agathos, Arete and Other Related Terms of Value in Homer 19 Homer’s Purpose in Writing the Iliad 22 Alasdair MacIntyre 23 E. -
Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; Proquest Pg
The appropriation of a son: Sophocles' Philoctetes Roisman, Hanna M Greek, Roman and Byzantine Studies; Summer 1997; 38, 2; ProQuest pg. 127 The Appropriation of a Son: Sophocles' Philoctetes Hanna M. Roisman ANHOOD in archaic and classical Greece-as in modern times-is generally manifested not so much in relation M ships with women as in relationships with other men, especially in the relationship between father and son. The Greek male is expected to produce sons who will continue his oikos (e.g. Soph. Ant. 641-45; Eur. Ale. 62lf, 654-57). Further, as Hesiod makes clear, sons should resemble their fathers in both looks and conduct, especially the latter (Op. 182,235; ef Ii. 6.476-81; Theophr. Char. 5.5). Such resemblance earns the father public esteem and proves his manliness; the lack of it may be cause for disparagement and calls his manliness into question. 1 We learn from Ajax and Philoctetes that Sophocles follows the Hesiodic imperative that sons should resemble their fathers in their natures and their accomplishments. Ajax sees himself as an unworthy son, having lost Achilles' arms to Odysseus, and prefers to commit suicide rather than face his father, Telamon, who took part in Heracles' expedition to Troy and got Hesione, the best part of the booty, as a reward (Aj. 430-40,462-65, 470ff, 1300-303; Diod. 4.32.5). At the same time, he expects his son, Eurysaces, to be like himself in nature, valor, and in everything else ('ttl.~' aA.A.' OIlOlO~, Aj. 545-51). Sophocles' Philoctetes, on the other hand, presents the strug gle between Odysseus and Philoctetes for the 'paternity' of Neoptolemus, as each tries to mold the young man in his own 1 Even in contemporary Greece the intense male rivalry for proving oneself takes place among men alone, while women and flocks serve as the object of this rivalry. -
A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College
Bridgewater Review Volume 2 | Issue 2 Article 13 Mar-1984 Research Note: A New Perspective on Revenge and Justice in Homer Judith Stanton Bridgewater State College Recommended Citation Stanton, Judith (1984). Research Note: A New Perspective on Revenge and Justice in Homer. Bridgewater Review, 2(2), 26-27. Available at: http://vc.bridgew.edu/br_rev/vol2/iss2/13 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Cultural Commentary Continued table for more moves, brings it out a third RESEARCH NOTE time for a last look and then manipulates it for the last time under the table, finally achieving cubical perfection. A New Perspective on Revenge Is this game playing spirit, native to all of us, at the heart of mathematics? Is and Justice in Homer Judith Stanton mathematics a sort of game, albeit with Assistant Professor of English serious applications? I think that it is. I am reminded of Jacob Bronowski who Most of us are aware that our idea of considers this question in his beautiful work, justice comes largely from Ancient Greece. so optimistic for mankind, The Ascent of But we might be surprised at how old Greek Man. At one point Bronowski is explaining justice really is. Classical Athens (490·323 symmetry in nature and art. He takes us to B.C.), to which we owe much of our the Alhambra, where in the baths of the understanding of justice, was itself heir to a harem we see motifs of "wind-swept" system of revenge justice that was older still triangles in perfect hexagonal collaboration -- perhaps as old as Hie Mycenaean period filling the walls. -
Title Page Diss
Pre-Modern Iberian Fragments in the Present: Studies in Philology, Time, Representation and Value By Heather Marie Bamford A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Hispanic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Jesús Rodríguez-Velasco, Co-Chair Professor José Rabasa, Co-Chair Professor Hans Ulrich Gumbrecht Professor Ignacio Navarrete Professor David Hult Fall 2010 1 Abstract Pre-Modern Iberian Fragments in the Present: Studies in Philology, Time, Representation, and Value by Heather Marie Bamford Doctor of Philosophy in Hispanic Literatures and Languages University of California, Berkeley Professors Jesús Rodríguez-Velasco and José Rabasa, Co-Chairs This dissertation examines the uses of medieval and early-modern Iberian cultural objects in the present. It draws on the notion of fragment and actual fragmentary testimonies to study how pre- modern Iberian things and texts are reconstituted and used for various projects of personal, institutional, national and transnational reconstitution in the present. The corpus objects are necessarily diverse in chronological scope, with examples from the medieval, early-modern and modern periods, and touch upon works of many genres: chivalric romance, royal and personal correspondence, early-modern and modern historiography, Hispano-Arabic and Hispano-Hebrew lyric, inscriptions, pre-modern and modern biographies and 21st century book exhibitions. The dissertation proposes that Iberian fragments are engaged in various forms of reconstitution or production in the present and, at the same time, are held as timeless, unchanging entities that have the capability to allow users to connect with something genuinely old, truly Spanish and, indeed, eternal. -
Eris and Epos Composition, Competition, and the Domestication of Strife
Eris and Epos Composition, Competition, and the Domestication of Strife Joel P. Christensen Brandeis University [email protected] Abstract This article examines the development of the theme of eris in Hesiod and Homer. Start- ing from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation of the universe in Hes- iod’s Theogony through the Homeric epics and into its double definition in the Works and Days.To explore and emphasize how this complementarity is itself a manifestation of eris, I survey its deployment in our major extant epic poems. Keywords eris – competition – conflict – poetics – rivalry In Cypria fr. 1, Zeus fans “the flames of the great strife of the Trojan war / to lighten the [earth’s] burden with death” (ῥιπίσσας πολέμου μεγάλην ἔριν Ἰλιακοῖο, 5).* Similarly, in Hesiod (fr. 204 M-W), when strife divides the gods at the birth of Hermione—“all the gods were of two minds / because of the strife” (πάν- τες δὲ θεοὶ δίχα θυμὸν ἔθεντο / ἐξ ἔριδος, 94–95)—Zeus hastens the destruction of the Heroes: “And then he hastened to extinguish the great race of human * A version of this article was given at the Heartland Graduate Conference in Ancient Stud- ies at the University of Missouri in 2015. -
“100% Sanctification – Guaranteed” – Part 2 100% Sanctification
THE SECOND EPISTLE OF PETER TO THE CHURCH OF THE DISPERSION THROUGHOUT THE WORLD 2 PETER CHAPTER 1:5-9 MEDIA REFERENCE NUMBER SMX995 OCTOBER 27, 2019 THE TITLE OF THE MESSAGE: “100% Sanctification – Guaranteed” – Part 2 SUBJECT TOPICALLY REFERENCED UNDER: Faithfulness, Finishing, Church, Christianity, Discipleship 2 Peter 1:5-9 But also for this very reason, giving all diligence, add to your faith virtue, to virtue knowledge, 6 to knowledge self-control, to self-control perseverance, to perseverance godliness, 7 to godliness brotherly kindness, and to brotherly kindness love. 8 For if these things are yours and abound, you will be neither barren nor unfruitful in the knowledge of our Lord Jesus Christ. 9 For he who lacks these things is shortsighted, even to blindness, and has forgotten that he was cleansed from his old sins. 100% Sanctification – Guaranteed! We have read throughout the Old Testament that God called His people to be set apart from this world and to be set apart for Him That Old Testament Requirement is Fulfilled in the New Testament Relationship And in Peter’s Day - The Early Church was Increasingly Thankful for that. It’s success / It’s effect / It’s influence / It’s earthly calling / From its heavenly position. 1 Thessalonians 5:23-24 Now may the God of peace Himself sanctify you completely; and may your whole spirit, soul, and body be preserved blameless at the coming of our Lord Jesus Christ. 24 He who calls you is faithful, who also will do it. Reviewing Part 1 of Our Previous Teaching 100% Sanctification – Guaranteed! 1.) Means that we co-operate with God vs.