The Threefold Sacrifice of Iphigenia in Euripides' Iphigenia in Aulis
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Role-Playing and Self-Actualization in Iphigenia at Aulis the Climactic Change of Mind in Euripides' Iphigenia at Aulis
Role-Playing and Self-Actualization in Iphigenia at Aulis The climactic change of mind in Euripides’ Iphigenia at Aulis (extensively discussed by Gibert 1995: 222-54) is notorious both for representing such an absolute reversal of Iphigenia’s views and for being considerably delayed: her final speech “contains a series of points, virtually all of which could equally well have been made by Iphigeneia fifty lines earlier” (Sansone 1991: 164). This paper addresses both issues by analyzing her reversal as an example of role-playing that is meant to impose one’s own vision on reality; Zeitlin’s important article on Orestes’ role- playing as an attempt to escape from his own myth provides a starting point (cf. Siegel 1980, Luschnig 1988, who speaks of roles in IA, though without much definition). This brand of role- playing appears first in IA in the figures of Clytemnestra and Achilles, who continue to play the roles of mother of the bride and prospective husband even after Iphigenia’s engagement to Achilles has been revealed as a fabrication. When Iphigenia agrees to the sacrifice, she assumes a new role as active heroine of her own story and, like Clytemnestra and Achilles, forces that fiction to become a reality. Her reversal is delayed because her monody and the stichomythic exchange between Clytemnestra and Achilles are needed to illustrate why other possible roles are unsatisfying or untenable. Throughout the play, Iphigenia’s dilemma is framed as a question of whom she should marry: Hades or Achilles. Helene Foley (1985: 68-78) has argued that on the level of ritual marriage is at least as important as sacrifice for negotiating the social tensions explored in the play. -
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. -
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. -
TRAUMA in EURIPIDES' HECUBA by Julia E. Paré
Falling on Deaf Ears: Trauma in Euripides' Hecuba Item Type text; Electronic Thesis Authors Pare, Julia Elizabeth Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 16:07:09 Link to Item http://hdl.handle.net/10150/641676 FALLING ON DEAF EARS: TRAUMA IN EURIPIDES’ HECUBA by Julia E. Paré ____________________________ Copyright © Julia Paré 2020 A Thesis Submitted to the Faculty of the DEPARTMENT OF RELIGIOUS STUDIES AND CLASSICS In Partial Fulfilment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN CLASSICS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Master’s Committee, we certify that we have read the thesis prepared by Julia E. Paré, titled “Falling on Deaf Ears: Trauma in Euripides’ Hecuba,” and recommend that it be accepted as fulfilling the dissertation requirement for the Master’s Degree. _________________________________________________________________ Date: ____________May 25, 2020 David Christenson _________________________________________________________________ Date: ____________May 25, 2020 Courtney Friesen _________________________________________________________________ Date: ____________May 25, 2020 Arum Park Final approval and acceptance of this thesis is contingent upon the candidate’s submission of the final copies of the thesis to the Graduate College. I hereby certify that I have read this thesis prepared under my direction and recommend that it be accepted as fulfilling the Master’s requirement. -
Female Characters, Female Sympathetic Choruses, and the “Suppression” of Antiphonal Lament at the Openings of Euripides’ Phaethon, Andromeda, and Hypsipyle*
FRAMMENTI SULLA SCENA (ONLINE) Studi sul dramma antico frammentario Università deGli Studi di Torino Centro Studi sul Teatro Classico http://www.ojs.unito.it/index.php/fss www.teatroclassico.unito.it ISSN 2612-3908 1 • 2020 FEMALE CHARACTERS, FEMALE SYMPATHETIC CHORUSES, AND THE “SUPPRESSION” OF ANTIPHONAL LAMENT AT THE OPENINGS OF EURIPIDES’ PHAETHON, ANDROMEDA, AND HYPSIPYLE* VASILIKI KOUSOULINI NATIONAL AND KAPODISTRIAN UNIVERSITY OF ATHENS [email protected] Female choruses abound in Euripides’ plays.1 While there are many in his extant plays, we also encounter choruses of women in his fragmentary ones.2 Little attention has been paid to the existence of sympathetic female choruses in Euripides’ fragmentary dramas and their in- teraction with female characters. A sympathetic female chorus seems to appear in conjunction with a female character in many Euripidean fragmentary plays. The chorus of the Alexander in * This research is co-financed by Greece and the European Union (European Social Fund- ESF) through the Opera- tional ProGramme «Human Resources Development, Education and LifelonG LearninG» in the context of the pro- ject “Reinforcement of Postdoctoral Researchers - 2nd Cycle” (MIS-5033021), implemented by the State Scholar- ships Foundation (ΙΚΥ). 1 There is a female chorus in Euripides’ Medea, Hippolytus, Andromache, Hecuba, Suppliant Women, Ion, Electra, Trojan Women, Iphigenia among the Taurians, Helen, Phoenician Women, Orestes, Iphigenia in Aulis, and Bacchae. Mastronarde observed that there are 15 male choruses, 62 female choruses, and 105 choruses with undetermined gender in Euripides’ corpus. Cf. MASTRONARDE 2010, 103. AccordinG to Calame, the 82% of Euripides’ traGic choruses con- sists of women. Cf. CALAME 2020, 776. -
Classical Athens and the Delphic Oracle: Divination and Democracy Hugh Bowden Frontmatter More Information
Cambridge University Press 0521823730 - Classical Athens and the Delphic Oracle: Divination and Democracy Hugh Bowden Frontmatter More information CLASSICAL ATHENS AND THE DELPHIC ORACLE The Delphic oracle was where, according to Greek tradition, Apollo would speak through his priestesses. This work explores the import- ance placed on consultations at Delphi by Athenians in the city’s age of democracy. It demonstrates the extent to which concern to do the will of the gods affected Athenian politics, challenging the notion that Athenian democracy may be seen as a model for modern secular democratic constitutions. All the known consultations of the oracle by Athens in the period before 300 BC are examined, and descriptions of consultations found in Attic tragedy and comedy are discussed. This work provides a new account of how the Delphic oracle func- tioned and presents a thorough analysis of the relationship between the Athenians and the oracle, making it essential reading both for students of the oracle itself and of Athenian democracy. HUGH BOWDEN is Lecturer in Ancient History at King’s College London. He is the author of numerous articles on Greek religion and history and is editor of the The Times Ancient Civilizations (2002). © Cambridge University Press www.cambridge.org Cambridge University Press 0521823730 - Classical Athens and the Delphic Oracle: Divination and Democracy Hugh Bowden Frontmatter More information CLASSICAL ATHENS AND THE DELPHIC ORACLE Divination and Democracy HUGH BOWDEN © Cambridge University Press www.cambridge.org -
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 -
Euboea and Athens
Euboea and Athens Proceedings of a Colloquium in Memory of Malcolm B. Wallace Athens 26-27 June 2009 2011 Publications of the Canadian Institute in Greece Publications de l’Institut canadien en Grèce No. 6 © The Canadian Institute in Greece / L’Institut canadien en Grèce 2011 Library and Archives Canada Cataloguing in Publication Euboea and Athens Colloquium in Memory of Malcolm B. Wallace (2009 : Athens, Greece) Euboea and Athens : proceedings of a colloquium in memory of Malcolm B. Wallace : Athens 26-27 June 2009 / David W. Rupp and Jonathan E. Tomlinson, editors. (Publications of the Canadian Institute in Greece = Publications de l'Institut canadien en Grèce ; no. 6) Includes bibliographical references. ISBN 978-0-9737979-1-6 1. Euboea Island (Greece)--Antiquities. 2. Euboea Island (Greece)--Civilization. 3. Euboea Island (Greece)--History. 4. Athens (Greece)--Antiquities. 5. Athens (Greece)--Civilization. 6. Athens (Greece)--History. I. Wallace, Malcolm B. (Malcolm Barton), 1942-2008 II. Rupp, David W. (David William), 1944- III. Tomlinson, Jonathan E. (Jonathan Edward), 1967- IV. Canadian Institute in Greece V. Title. VI. Series: Publications of the Canadian Institute in Greece ; no. 6. DF261.E9E93 2011 938 C2011-903495-6 The Canadian Institute in Greece Dionysiou Aiginitou 7 GR-115 28 Athens, Greece www.cig-icg.gr THOMAS G. PALAIMA Euboea, Athens, Thebes and Kadmos: The Implications of the Linear B References 1 The Linear B documents contain a good number of references to Thebes, and theories about the status of Thebes among Mycenaean centers have been prominent in Mycenological scholarship over the last twenty years.2 Assumptions about the hegemony of Thebes in the Mycenaean palatial period, whether just in central Greece or over a still wider area, are used as the starting point for interpreting references to: a) Athens: There is only one reference to Athens on a possibly early tablet (Knossos V 52) as a toponym a-ta-na = Ἀθήνη in the singular, as in Hom. -
List of Characters
Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information List of characters GHOST OF POLYDORUS son of Priam and Hecuba HECUBA widow of Priam, king of Troy CHORUS captured Trojan women, fellow slaves of Hecuba POLYXENA Hecuba’s daughter, a captured slave ODYSSEUS son of Laertes, lord of Ithaca, a prominent fighter at Troy TALTHYBIUS Greek herald SERVANT old Trojan woman, now a slave AGAMEMNON King of Argos/Mycenae, commander of the Greek army POLYMESTOR lord of the Thracian Chersonese 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information PROLOGUE (1–92) The Prologue is the part of a Greek play which preceded the entry of the Chorus. Some plays, especially those by Sophocles, begin with a dialogue. Euripides preferred, as here, to have a single character introduce himself or herself and explain the dramatic situation. Setting of the play The action takes place soon after the end of the Trojan War. See page vi and map, page vii. 3 Hades … Polydorus … Hecuba Hades is the god of the underworld. In classical ‘theology’, after the overthrow of Cronos and his fellow Titans power was shared between Zeus and his two brothers. Zeus became supreme ruler on Mount Olympus, Poseidon took control of the seas, and Hades ruled over the dead in the underworld. Polydorus, a ghost (see ‘Ghosts’, page 6) tells us (13–15) that he was too young to fight at Troy. In Homer’s Iliad (where his mother was Laothoe, not Hecuba), against his father Priam’s (4) wishes he ran impetuously into battle and was killed by Achilles (Iliad xx and xxii). -
Iphigenia in Tauris. Translated by Anna Swanwick
rPT idZt> . 3 U.c HANDY LITERAL TRANSLATIONS. 90 VOLUMES " To one who is reading the Classics, a literal translation ts a con- ietit and legitimate help: .... and every -well-informed person itnU d th' Classics eithr.r in the original or in a translation.*' Caesar's Gallic War. The 7 Books Demosthenes' Olynthiacs, Philippics Caesar's Civil War Euripides' Alcestis, and hlectra Catullus Euripides'Bacchantes, Herc.Furens Cirero's Brutus Euripides' Hecuba, and Andromache Cicero's Defense of Roscius Euripides' I phig. In Aulis, In Tauris Cicero De Officiis Euripides' Medea Cicero On Old Age and Friendship Herodotus, Books VI and VII Cicero On Oratory Herodotus, Book VIII Cicero On the Nature of the Gads Homer's Iliad, tke 1st Six Bookt Cicero's Select Orations Homer's Odyssey, fst 12 Bookt Cicero's Select Letters. 2 rr>ts. Lucian's Select Dialogues, 2 volt. Cicero's Tusculan Disputations Lysias' Orations Cornelius Nepos, complete Plato's Apology, Crito, and Phaedo Eutropius Plato's Gorgias Horace, complete Plato's Inches (paper) Satires, eompUtt Plato's Protagoras, Euthyphroa tivenal'sivy. Books I and II Plato's Republic Uvy. Books XXI and XXII Sophocles' O7-d. Tyr. F.Iec., Antig O 'id's Metamorphoses, a voli. Thucydides, Books I-IV Phzdrjis' Fables Thucydides, Books V-VIII Plautus Captivi, and Mostelaria Xenophno's Anabasis, rst 4 Btokt Pbuius'Pseudolus; Miles Gloriosus Xenophon's Cyropaedia, 2 volumet Plant us'Trinummus.and Mensechmi Xenophon's Hqllenica, Symposium Pliny s Select Letters. 2 To/umes Xenophon's Memorabilia, compUt* Quintilian Books X and XII Roman Life in Lat. -
Euripides and Gender: the Difference the Fragments Make
Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Ruby Blondell, Chair Deborah Kamen Olga Levaniouk Program Authorized to Offer Degree: Classics © Copyright 2013 Melissa Karen Anne Funke University of Washington Abstract Euripides and Gender: The Difference the Fragments Make Melissa Karen Anne Funke Chair of the Supervisory Committee: Professor Ruby Blondell Department of Classics Research on gender in Greek tragedy has traditionally focused on the extant plays, with only sporadic recourse to discussion of the many fragmentary plays for which we have evidence. This project aims to perform an extensive study of the sixty-two fragmentary plays of Euripides in order to provide a picture of his presentation of gender that is as full as possible. Beginning with an overview of the history of the collection and transmission of the fragments and an introduction to the study of gender in tragedy and Euripides’ extant plays, this project takes up the contexts in which the fragments are found and the supplementary information on plot and character (known as testimonia) as a guide in its analysis of the fragments themselves. These contexts include the fifth- century CE anthology of Stobaeus, who preserved over one third of Euripides’ fragments, and other late antique sources such as Clement’s Miscellanies, Plutarch’s Moralia, and Athenaeus’ Deipnosophistae. The sections on testimonia investigate sources ranging from the mythographers Hyginus and Apollodorus to Apulian pottery to a group of papyrus hypotheses known as the “Tales from Euripides”, with a special focus on plot-type, especially the rape-and-recognition and Potiphar’s wife storylines.