DOCSLIB.ORG

Ruining the Joke: Discussing PDQ Bach's Use of the Aspects Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ruining the Joke: Discussing PDQ Bach's Use of the Aspects Of Ruining the Joke: Discussing PDQ Bach’s use of the Aspects of Humor in Oedipus Tex (S.150) Matthew A. Bardin, MM Louisiana State University School of Music MUS 7921, Spring 2021. Prof. J. Perry The purpose of this paper is to explore the character of PDQ Bach and break down their use of humor in the composition Oedipus Tex. Towards this goal I will break down the character of PDQ Bach and its relation to Professor Peter Schickele, discuss why humans tend to find certain events humorous, and review details of parody, satire and spoof. I will then move into a breakdown of some of the more noticeable instances of humorous content in Oedipus Tex. PDQ Bach is a pseudonym for Professor Peter Schickele under which he writes a large amount of music. Briefly speaking, the character of PDQ Bach is one large parody of Johann Sebastian Bach, and a spoof of Classical music composers in general. The character is a play on the naming tradition that JS Bach and his children are most often referred to in the musical community. PDQ himself is canonically the 21st son of the aforementioned JS Bach, born shortly before the composer’s death in 1750. The information surrounding PDQ is intentionally skewed in order to help listeners to pick up on the inherent humor in the character. PDQ’s lifespan is always listed as “(1807-1742)?” on musical scores which should be impossible. The pieces that PDQ Bach writes are often based on other compositions of the 17th, 18th and 19th century, which brings its own level of parody to the music1. Even the name, PDQ is a joke. While canonically, the letters are stated as having no meaning (Schickele, 2014) we, the modern listeners will recognize the initials as standing for the phrase “Pretty Damn Quick” rather than actual initials as is the custom when referring to actual members of the Bach family. 1 The canonic reason for this is that PDQ is described as being “exceptionally average”, lazy, and having a general distain towards music in general due to the nature of his family. The relationship between Professor Schickele and PDQ Bach is an interesting one compared to the majority of other artists who tend to create a pseudonym. Rather than assuming the identity of PDQ, Schickele is pretending to be a musicologist who is preserving, notating, and publishing the music of the fictional 19th century composer2. In the case of Oedipus Tex, Schickele is credited as shown in figure 1. (Bach, 1989) Figure 1. The cover to the piano score for Oedipus Tex. This persona and world-building goes a long way towards developing the humor of the character. Schickele has even gone as far as to publish a biography following the fictional life of PDQ Bach and the more exciting exploits of the fictional composer. (Schickele, 2014) These fictional characters and events are intermingled with elements from real world history in order to give them a sense of plausibility, however all of the ‘canon’ elements of PDQ’s history mentioned in this paper and Schickele’s book are as fictional as PDQ himself. 2 I want to clarify that Schickele is only pretending to study the music of PDQ Bach, who is a fictional persona. For Schickele to write these referential pieces requires a fair bit of musicological knowledge and research. As one might expect, defining exactly what makes something humorous, and why a person or group of people might laugh at an occurrence is no easy feat. There are several factors that go into this that are problematic, if not practically impossible, to accurately research within a normal human lifespan (Walton, 1993). Walton summarizes these points in his article, using the metaphor of a researcher trying to understand what makes members of a fictional Martian society laugh. To this effect, the argument boils down to two main elements the observer would have to identify: 1. What the event is that the observed population find humorous, and 2. Why this group finds the above even humorous. The first of these is relatively simple, if not potentially time consuming to determine. One would simply have to introduce an event to a group of subjects and determine if they found it amusing (Walton, 1993) To gain insight into the second element, let’s look into a lecture on humor in music by Leonard Bernstein. In his lecture (Bernstein, 1961) Bernstein hits on a few key elements that help to understand why people laugh at different things: 1. Jokes build on shared experiences that the audience can relate to, and 2. The punchline/delivery of that joke subverts the expectations brought on by those shared experiences. In the opening of the lecture, Bernstein references A Musical Joke by Mozart. As a listener who is familiar with the Western tradition of musical harmony, an average person listening to this piece in the 18th-19th century would expect a certain progression of melody and harmony. Simply put, this would be the shared experience by the audience that would allow them to have a similar context and respond in a similar fashion. However, in the Mozart composition3, Mozart defies the audience expectations and changes the harmonic resolution of the phrase. I feel that this, broadly speaking, is the key to identifying an instance of humor. In some way, jokes tend to subvert the expectations of the listener through a clever punchline. Take the one below for example: “Why did the chicken go to the séance? “To get to the other side.”4 Figure 2: an example joke This joke, while not particularly "elevated" or "sophisticated" plays on these elements discussed so far. It depends on the listener's shared experience of knowing what a séance is, and deviates from the expectations by referring to another style of joke, wherein the punchline is always "to get to the other side". Without these shared experiences by the audience, a listener would be unlikely to understand that what had just occurred was funny, or what the joke was about. (Walton, 1993) Understanding this, one could begin to make forward progress into what and why an audience might be able to find something, not even necessarily music, amusing. 3 Specifically, the portion referenced by Bernstein in the opening of the lecture. 4 As much as I would like to take credit for it, this joke came from https://www.rd.com/list/short-jokes/ Now that we have gone over the generalities of why something might be funny, lets briefly discuss some of the specific types of mimicking humor PDQ Bach uses in several of his compositions. The Merriam-Webster Dictionary defines Parody as: “a literary or musical work in which the style of an author or work is closely imitated for comic effect or in ridicule. (Merriam- Webster, “Parody”) Throughout history parody can be seen in art, literature, music, and almost every medium known to humans. A few examples include: 1. Monty Python’s Life of Brian (1979) parodies the Christian bible’s story of the life of Jesus and his crucifixion. 2. Michael Gerber’s Barry Trotter and the Unauthorized Parody (2001) parodies the book Harry Potter and the Philosopher’s Stone. 3. Any song by ‘Weird Al’ Yankovich is a parody of another popular song. What you may notice about the examples motioned thus far as well as other parodies are a direct reference to something specific: a song, a story, a person, etc. This is the key distinction between parody and spoof. A spoof is essentially a parody on a broader scale. These imitate an entire genre or field rather than one specific instance of it (Betts, 2014). We can see examples of spoofs in things such as: 1. The Onion: a television/internet network that spoofs news and reporters by creations outlandish headline titles and fake reports. 2. The film series Scary Movie: a 5-film series that parodies various other films in the horror genre rather than just one specific film. Lastly, let’s look at the idea of satire. A parody, spoof, or other humor becomes satirical when the new product is designed to create an often-ironic commentary on the original object or person being copied, rather than exist as its own entity independent of that original (Betts, 2014). We see this clearly in political cartoons which often twist one event or person in such a way as to either make them look good or bad depending on the bias of the author. Before diving into the details of musical content in Oedipus Tex, the listener should be familiar with what to expect in terms of content and form. Oedipus Tex is an oratorio, which can best be described as a relatively short, small scale opera without the theatre aspects. In fact, this composition is listed as a “Dramatic Oratorio or Opera in One Cathartic Act” on the cover of the score (see figure 1). All of the text in an oratorio is sung and is often dramatic or religious in nature. In terms of forces, an oratorio often utilized both an orchestra and choir, as well as assorted soloists; all of which are utilized in PDQ Bach’s orchestration. I would call this composition a spoof on the dramatic oratorio. It contains enough elements from the original genre, however as we will see it is completely irreverent in its nature and delivery. The absurd content is making fun of the sometimes overly serious nature of the original. In terms of topic, this oratorio is a telling of the Greek tragedy Oedipus Rex by Sophocles.
Load more

Recommended publications
  • Graduate Recital: Robin Alfieri, Violin Robin Alfieri
    Ithaca College Digital Commons @ IC All Concert & Recital Programs Concert & Recital Programs 2-5-2011 Graduate Recital: Robin Alfieri, violin Robin Alfieri Follow this and additional works at: http://digitalcommons.ithaca.edu/music_programs Part of the Music Commons Recommended Citation Alfieri, Robin, "Graduate Recital: Robin Alfieri, violin" (2011). All Concert & Recital Programs. 19. http://digitalcommons.ithaca.edu/music_programs/19 This Program is brought to you for free and open access by the Concert & Recital Programs at Digital Commons @ IC. It has been accepted for inclusion in All Concert & Recital Programs by an authorized administrator of Digital Commons @ IC. Graduate Recital: Robin Alfieri, violin Mary Holzhauer, piano and harpsichord Rachel Fannick, piano Bradley Pipenger, clarinet Hockett Family Recital Hall Saturday, February 5, 2011 4:00 p.m. Program Suite in A major, BWV 1025 J.S. Bach after Fantasia Silvius Leopold Weiss Courante 1685-1750, 1686-1750 Entrée Rondeau Sarabande Menuet Allegro Serenade for Three Peter Schickele Dances b. 1935 Songs Variations Rachel Fannick, piano Bradley Pipenger, clarinet Intermission Concerto in A major, KV 219 Wolfgang Amadeus Mozart Allegro aperto 1756-1791 Sonata in D major, Op. 94b Sergei Prokofiev Moderato 1891-1953 Presto Andante Allegro con brio This is a Graduate Recital in partial fulfillment of a Master of Music in Suzuki Pedagogy. Robin Alfieri is from the studios of Nicholas DiEugenio and Sanford Reuning. Program Notes Suite in A Major, BWV 1025 Suite in A major, which has been attributed to J.S. Bach (1685-1750), was originally written by Silvius Leopold Weiss (1686-1750). Weiss was regarded as the greatest lutenist of the Baroque period and was a contemporary of Bach.
    [Show full text]
  • Americans Use Greek Tragedy: Great Expectations on Stage
    Americans Use Greek Tragedy: Great Expectations on Stage MARIANNE MCDONALD Foley has given us a useful, updated account of Greek tragedy in America.* She knows Greek, has taught Greek literature, has seen many plays, has written volumes of interpretations, and obviously has made this study her life’s work. As she shows, this can be a frustrating busi- ness—the reason this review alludes to Dickens’ novel (Great Expectations)—because of the exasperating differ- ence that can arise between what one wants and what one gets, particularly when playwrights who know little Greek, less poetry, and care nothing about choral music and dance seek to “reimagine” Greek tragedy. The results can be tragi- comic, if not tragic. Having taught all of Greek tragedy, having translated it from the Greek (some with J. Michael Walton), and, since 1999, having had performances—in San Diego and around the world—of over thirty versions and translations, I have come to the conclusion that the original masterpieces still surpass all translations and versions, unless written by a true master of the theatre who has lived, eaten, and breathed the- atre—like Racine, O’Neill, Cocteau, Anouilh, Soyinka, Fu- gard, or Friel. The exceptions, then, are those playwrights who have read Greek tragedy (preferably in the original), understood the plays, and have been profoundly moved by them to the *Helene Foley, Reimagining Greek Tragedy on the American Stage (Sather Classical Lectures, v. 70; Berkeley, Los Angeles, London: University of California Press, 2012; A Joan Palevsky Book in Clas- sical Literature), xv + 375 pages, $95.00, hardcover.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE the Motif of Fate In
    UNIVERSITY OF CALIFORNIA RIVERSIDE The Motif of Fate in Homeric Epics and Oedipus Tyrannus A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature by Chun Liu August 2010 Dissertation Committee: Dr. Lisa Raphals, Chairperson Dr. Thomas Scanlon Dr. David Glidden The Dissertation of Chun Liu is approved: Committee Chairperson University of California, Riverside Acknowledgements I would like to express my deepest appreciation to my committee chair, Professor Lisa Raphals, whose guidance and support have been crucial to the completion of this dissertation. While the academic help she has offered me during the dissertation writing is invaluable, her excellent expertise in the field and indefatigable enthusiasm for her study set me a lifetime example. I would like to thank my committee members, Professor Thomas Scanlon and Professor David Glidden, who illuminated me not only in the writing and revision of the present work, but also in possible future projects. I benefited greatly from the many course-works and talks with Professor Scanlon. A special thank to Professor Glidden, for his kindness and patience, and for his philosophical perspective that broadened my scope. In addition, a thank you to Professor Wendy Raschke and Professor Benjamin King. For the past years they gave me solid trainings in the languages, read my proposals and gave many useful suggestions. I would also like to thank my parents and my friends in China who have always stood by me and cheered me up during the writing of this dissertation. iii ABSTRACT OF THE DISSERTATION The Motif of Fate in Homeric Epics and Oedipus Tyrannus by Chun Liu Doctor of Philosophy, Graduate Program in Comparative Literature University of California, Riverside, August 2010 Dr.
    [Show full text]
  • Lehrermaterial Wartke Oedipus
    Informationen und Anregungen für Lehrerinnen und Lehrer Begleitmaterial zum König Ödipus nach Sophokles In der Bearbeitung von Bodo Wartke Solo-Theater Text & Musik von Bodo Wartke Regie: Sven Schütze Premiere im Schmidt-Theater / Hamburg am 17. Mai 2009 Bis zum April 2016 sahen bereits mehr als 69.000 Menschen Bodo Wartke in den 14 Rollen seines Solo-Theaters. Antigone – das Nachfolgestück - ab April 2018 in Ihrem Theater! König Ödipus Solo-Theater In der Bearbeitung von Bodo Wartke Nach Sophokles Besetzung: Die 14 Rollen des Stücks werden von Bodo Wartke gespielt. Text & Musik: Bodo Wartke Regie: Sven Schütze Dramaturgie: Carmen Kalisch Kostüm: Heike Hallenga Der Stücktext erschien im Oktober 2009 zusammen mit einem umfangreichen Glossar in einem Buch mit Festeinband im Reimkultur Musikverlag. Fragen sie nach Klassensätzen für Ihren Unterricht unter: [email protected] Im Mai 2010 erschien eine DVD mit einer Aufzeichnung des Stückes aus dem Schmidt Theater in Hamburg vom August 2009. Umfangreiches Bonusmaterial u.a. Interview mit Regisseur, Dramaturgin und Texter z. B. zum Schicksalsbegriff. Im Herbst 2010 erschien ein ausführliches Programmheft zum Theaterabend. Die Aufführungsrechte liegen bei der Reimkultur GmbH & Co. KG und können dort sowohl für kommerzielle als auch nicht-kommerzielle Aufführungen erworben werden. Informationen rund um König Ödipus in der Textfassung von Bodo Wartke, zum Buch und zur DVD unter www.koenig-oedipus.de Die Autoren Sophokles Griechischer Tragödiendichter. Geboren 497/96 v. Chr. in Athen; gestorben 406/405 v. Chr. ebenda. Auf sein Debüt bei den Dionysien 471/70 folgte 468 bereits der erste Sieg. In der Folge war er weiterhin äußerst erfolgreich: Insgesamt errang er mit 30 Inszenierungen 18 Siege, Dritter wurde er nie.
    [Show full text]
  • Modern Variations of the Classical Myth of Oedipus As Exemplified In
    Ain Shams University Women College Department of English Modern Variations of the Classical Myth of Oedipus As Exemplified in T.S.Eliot’s The Elder Statesman, Tawfik Al-Hakim’s Oedipus the King and W.B.Yeats’ Sophocles’ Oedipus the King and Sophocles’ Oedipus at Colonus An M. A. Thesis in English Literature By Rasha Abbas Mohammed al-Saddany Demonstrator Faculty of Education Mansoura University Under the Supervision of Prof. Dr. Zaki M. Abdalla Prof. Dr. Fadila Fattouh Prof. of English Literature Prof. of English Literature Faculty of Education (Damietta) Women College Mansoura University Ain Shams University 2006 Contents Introduction I Chapter One: A Thematic Study 1 Chapter Two: Characters’ Portrayal 46 Chapter Three: A Study in Structure and Techniques 104 Chapter Four: Linguistic Features 168 Conclusion 193 Bibliography 201 Summary 216 Acknowledgement I would like to express my gratitude to Prof. Dr. Fadila Fatouh for her wise judgment, patience and invaluable guidance. I would also thank Prof. Dr. Zaki Abdalla for his constant assistance and attentive comments. Special thanks are due to Dr. Ahmed Thabet for the guiding hand he has given me all through the research. I could not have done this work without the love and care of my father and mother whose faith in me pushed me foreword at all times. I would also like to thank my husband for his continuous encouragement and support. I hope that they are all proud of me. Introduction This thesis attempts a comparative study of W.B.Yeats’ Sophocles’ Oedipus the King (1926) and Sophocles’ Oedipus at Colonus (1927), T.S Eliot’s The Elder Statesman (1958), and Tawfik Al-Hakim’s Oedipus the King (1949) as modern versions of the Oedipus myth.
    [Show full text]
  • Schickele, Peter Serenade for Three
    Serenade for Three (1993) Peter Schickele “My brother started studying violin when he was nine, and I started playing clarinet and piano when I was a young teenager, so perhaps one of the reasons I was so delighted by the commission that resulted in Serenade for Three is that the piece recalls (in much more sophisticated form, I feel safe in saying) the sounds that wafted through 1354 N. 12th St., Fargo, North Dakota, during the late forties. My brother ended up switching to viola, and I to bassoon, but I’ve always had a fondness for the clarinet/violin/piano combination, and it was high time I wrote something for it. The first movement of the Serenade is a headlong series of dances set off by a robust refrain. The four sections (and three keys) of the lyrical second movement are tied together by the note E-flat which repeats in raindrop fashion throughout. The finale features an interesting bit of incest. Peter Schickele writing variations on a theme by P.D.Q. Bach. The theme in question comes from the title character’s aria in Oedipus Tex, an opera/oratorio in one cathartic act. I’ve always had a weakness for cornball cowboy music, which in the P.D.Q. Bach work gets combined with certain eighteenth-century classical figurations; the style in the Serenade finale is more wide-ranging: in addition to country fiddling, there’s also some boogie-woogie piano. A rabble-rousing finish.” ─Peter Schickele The world premiere of Serenade for Three was on March 1, 1993 in the Filene Recital Hall, Skidmore College, Saratoga Springs, New York.
    [Show full text]
  • Oedipus-Education-Pack.Pdf
    Blackeyed Theatre & South Hill Park – Oedipus Education Pack Copyright 2007 Blackeyed Theatre and South Hill Park Arts Centre present EDUCATION RESOURCE PACK Page 1 of 31 Blackeyed Theatre & South Hill Park – Oedipus Education Pack Copyright 2007 Contents Page Welcome! 3 Blackeyed Theatre The Company 4 An Introduction How Berkoff chose the text 5 Why Oedipus? How we chose the text 7 Finding hope in tragedy Directing Oedipus 8 Performing a premiere What does it mean as an Actor? 10 Re-telling a tale The history of the Oedipus Myth 11 The prequel Before we even begin, know this… 12 So what happens next? A synopsis of Berkoff’s Oedipus 13 Iambic Pentameter 14 What sort of writer tells this story? Sophocles and Berkoff 15 The Oedipus Complex Fun with Freud 20 Greek theatre How Oedipus was staged the first time round 21 Physical theatre Don’t use your words… 25 Why don’t you? Things to do before and after the show 27 Discussion points Consider this… 29 Glossary 30 Further reading and resources 31 Page 2 of 31 Blackeyed Theatre & South Hill Park – Oedipus Education Pack Copyright 2007 Welcome We’re incredibly excited about this WORLD-PREMIERE production of Steven Berkoff’s Oedipus and you should be too! Blackeyed Theatre has stepped up to the challenge of this never before performed piece with an exciting, physical, visual production of one of the oldest written stories in the world. The following pages have been designed to support study leading up to and after your visit to see the production. Oedipus will give you a lot to talk about, so this pack aims to supply thoughts and facts that can serve as discussion starters, handouts and practical activity ideas.
    [Show full text]
  • Characterization and Anagnorisis in the Oedipus Tyrannus of Sophocles
    THE TRANSFORMATION OF OEDIPUS: CHARACTERIZATION AND ANAGNORISIS IN THE OEDIPUS TYRANNUS OF SOPHOCLES by CATHERINE ANNE MCANULTY MORI B.A., The University of British Columbia, 1974 T.T., The University of British Columbia, 1976 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Classics) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1995 © Catherine Anne McAnulty Mori, 1995 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 or her 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, Canada Date H Hi DE-6 (2/88) 11 Abstract The Oedipus myth is a very ancient one in the Greek tradition. In the Oedipus Tyrannus, Sophocles builds on the familiar theme to explore the mystery of human existence using Oedipus as a metaphor for the indomitable spirit of the human individual in face of the incomprehensible workings of the gods. Although Sophocles uses a generally well-known story, he brings originality to his drama in the way he develops the characters and stages the action. The thesis is divided into four parts.
    [Show full text]
  • König Ödipus
    Informationen und Anregungen für Lehrerinnen und Lehrer Begleitmaterial zum König Ödipus nach Sophokles In der Bearbeitung von Bodo Wartke Solo-Theater Text & Musik von Bodo Wartke Regie: Sven Schütze Premiere im Schmidt-Theater / Hamburg am 17. Mai 2009 Spielzeit 2009 / 2010 König Ödipus Solo-Theater In der Bearbeitung von Bodo Wartke Nach Sophokles Besetzung: Die 14 Rollen des Stücks werden von Bodo Wartke gespielt. Text & Musik: Bodo Wartke Regie: Sven Schütze Dramaturgie: Carmen Kalisch Kostüm: Heike Hallenga Der Stücktext erscheint im Oktober 2009 zusammen mit einem umfangreichen Glossar ein einem Buch mit Festeinband im Reimkultur Musikverlag. Im März 2010 erscheint eine DVD mit einer Aufzeichnung des Stückes aus dem Schmidt Theater in Hamburg vom August 2009. Ebenfalls im März 2010 erscheint ein ausführliches Programmheft zum Theaterabend. Die Aufführungsrechte liegen beim Reimkultur Musikverlag und können dort sowohl für kommerzielle als auch nicht-kommerzielle Aufführungen erworben werden. Die Autoren Sophokles Griechischer Tragödiendichter. Geboren 497/96 v. Chr. in Athen; gestorben 406/405 v. Chr. ebenda. Auf sein Debüt bei den Dionysien 471/70 folgte 468 bereits der erste Sieg. In der Folge war er weiterhin äußerst erfolgreich: Insgesamt errang er mit 30 Inszenierungen 18 Siege, Dritter wurde er nie. Sophokles bekleidete zahlreiche politische Ämter: 443/42 war er Hellenotamias, Schatzmeister des Attischen Seebundes, Stratege war er 441-439,428 [...] 413/12 gehörte er den Probulen an, die die radikale Demokratie einschränken sollten. Außerdem war er Priester des Heros Halon. Von den erhaltenen sieben Tragödien sind nur Philoktet (409) und Ödipus auf Kolonos (401) datiert. Die anderen Stücke lassen sich in eine relative Chronologie bringen, die nicht unumstritten ist: Aias , Trachinierinnen (50er/40 Jahre), Antigone (ca.
    [Show full text]
  • Marciacatacousinosmlittthesis1982 Original C.Pdf
    University of St Andrews Full metadata for this thesis is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ This thesis is protected by original copyright THE CHILDREN OF OEDIPUS by MARICA CATACOUSINOS Dissertation submitted in partial fulfilment of the requirements of the degree of M. Litt. in the University of St. Andrews, lMay 1982. Abstract: The Children of Oedipus In Chapter 1, references to the Oedipus-myth prior to its treatment by the tragedians are examined. Part I (Chapters 2 - 4) deals with the portrayal of Polyneices and Eteocles in Aeschylus's Septem, Euripides* Phoenissae and Sophocles' Oedipus Coloneus. In Part II (Chapters 5-6), the treatment of Antigone and Ismene in the above plays is discussed. The thesis examines the presentation by each dramatist of the children of Oedipus, and attempts to account for it in terms of the tragedian's dramatic purpose. " ι · In the Septem, Aeschylus deals with man's relationship to Fate rather than man's relationship to man; hence Polyneices does not appear. Eteocles is presented as a good general, whose concern for the defence of the city and reluctance to appear weak lead him to fight Polyneices, thereby co-operating with the Erinys. The curse ends with the deaths of the brothers; there is no reference to the campaign of the Epigoni. Lines 861-74 and line 1005 to the end of the play are probably spurious, and lines 961-1004 should be given to the divided Chorus, with the result that the sisters are removed from the play The Phoenissae is episodic in structure, with the conflict of Eteocles and Polyneices forming the central episode.
    [Show full text]
  • Antigone at Colonus and the End(S) of Tragedy
    ANTIGONE AT COLONUS AND THE END(S) OF TRAGEDY Brooke Holmes Sophocles’ Oedipus at Colonus, it would seem, is an exercise in closure. In the opening scene, Oedipus, worn down by years of wandering blind and hun- gry, arrives at the borders of Athens. Here is where his legendary sufferings— his murder of his father, his incestuous marriage to his mother, his betrayal by his sons, his exile from Thebes—are fated to end. Following his miraculous death, his body will become a sacred gift to the city that receives him, protect- ing it against future attack. In the closing moments of the play, everything un- folds according to plan. Oedipus disappears offstage and mysteriously descends into the earth. The king of Athens, Theseus, alone marks the spot of his disap- pearance, knowledge he will pass down to his sons as part of his responsibility to the city. By the end of the tragedy, then, Oedipus has made his way home to the gods in a land capable of honouring his awesome, singular fate. The concept of ‘coming home’ is integral, as this précis suggests, to the play’s logic of closure.1 Yet, crucially, it governs only one of the two planes on which the drama unfolds, that of the gods. Oedipus’ life has been in the hands of the gods since before he was born. That they reclaim him at the end of his life gives his exit the feel of a return. By contrast, the path to Athens, for all its meandering, is not circular but linear.
    [Show full text]
  • By Steven Berkoff (After Sophocles)
    Liverpool Everyman and Playhouse and Nottingham Playhouse © Copyright 2011 oEDIPUS by steven Berkoff (After Sophocles) Liverpool Everyman and Playhouse and Nottingham Playhouse Education Resource Pack 1 Liverpool Everyman and Playhouse and Nottingham Playhouse © Copyright 2011 Contents Why Oedipus in our Theatres? About Steven Berkoff Directing Oedipus Oedipus Cast Interview with Simon Merrells (Oedipus) Interview with Louise Jameson (Jocasta) Interview with the ensemble In rehearsal Fascinating facts about the Oedipus myth The Back Story of Oedipus Synopsis Characters Greek Theatre Physical Theatre Iambic Pentameter Comparing and contrasting versions of the text Design Activities for the Studio/Classroom 2 Liverpool Everyman and Playhouse and Nottingham Playhouse © Copyright 2011 Why Oedipus at the Liverpool Playhouse? We try to programme a wide range of work across both theatres that reflects the broad diversity of our audience. A cornerstone of that programme selection is a response to our schools and colleges. We try to have at least one inventive interpretation of a “classic” text in every season for that very reason. It is important to us that the selection of that production is a simultaneous and equally weighted choice of text and vision. We want people studying theatre and text to have both the opportunity of experiencing something they are studying as a live experience but we also hope that how it is contextualised and interpreted will challenge and inspire their reading of the text. No play in theatre history deserves the term “classic” more than Oedipus . Since Aristotle used it as his model for playwriting craftsmanship, it has a travelled down the millennia as a great play, indeed some would argue THE first GREAT play.
    [Show full text]