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Copyrighted Material Index absolute monarchy 21 Seven against Thebes 89 absurdist theater 42 The Suppliants 34, 36 Académie française 40 agency 56, 87, 98 acting companies 14 agon: see confl ict action alexandrine 46 introspection 35–6 American Heritage Dictionary 85 off-/on-stage 4 anachronism 115 spectacle 11 anagnorisis: see recognition unity of 37–43 ananke: see fate actors anapaest 44 chorus 5, 34 anger 76–7 Greek 3, 4–5, 7, 34 Anouilh, Jean 64 Adam 59, 87 Antigone 120 adultery 76, 78 Antigone (Sophocles) 36, 74–5, 84, advice, chorus 88, 90 88, 89–90, 97–8, 102 Aeschylus antistrophe (choral lyric) 44 chorus 36 Antonio’s Revenge (Marston) 67 and Euripides 48 Antony and Cleopatra (Shakespeare) heroes 89 40 Knox 88 Antony 92–3, 98 Oresteia 34, 36,COPYRIGHTED 49, 68, 69–70 Cleopatra MATERIAL 88, 92–3, 98, 106 Agamemnon 34, 35, 56, 69, desire 77–8 71, 96 distancing 106 The Eumenides 36, 56, 96 Enobarbus 46 The Libation Bearers 49, 56, 69, imagination 43 70, 96 servants 102 The Persians 34, 108 tragedy/history 110–11, 112 Prometheus Bound 90 appropriateness 88 Index archons (city leaders) 3 conventions of representation 8–9 Arden of Faversham 103 Dionysus 6–8, 64–5 Aristophanes maenads 7–8 The Frogs 48, 102 self-conscious 6 Aristotle Bacon, Francis 66 appropriateness 88 Bacon, Helen 36 characters 102 barbarism 48 chorus 37 Barthes, Roland 21, 46 confl ict 73–4 bathos 32–3 epic/tragedy 41–2 Bazin, André 30 history/tragedy 43 Beckett, Samuel iambic trimeter 43–4 unities of time/place/action 42–3 language for tragedy 48 Waiting for Godot 42–3, 81–3 on Oedipus the King 56–7, 113 Bergman, Ingmar 30 Poetics 38, 48, 52–3, 58, 69, biographical fi lms 63 84, 115 birth/death 83 probability 107, 108 Blackfriars Theatre 1–2, 12 recognition 68–9 blank verse 44–5 reversal 54, 55, 68–9, 85 The Blue Angel 81 time 30 Boethius, Amicius 58 Athens Bonnie and Clyde 94 archons 3 Booth, W. C. 24 Peloponnesian War 6 Bosse, Abraham 18 playwrights 2–3 box sets 24–5, 28 polis 115, 121 Braden, Gordon 77 Theatre of Dionysus 2, 9, 119 Bradley, A. C. 117 d’Aubignac, Abbé Brayne, John 13 La Pratique du théâtre 40 Brecht, Bertolt Auden, W. H. 59, 85 Mother Courage and her Children 51, audience 112–13 Athenian 28 ”A Short Organum for the class 24 Theatre” 111–12 Elizabethan 28–9 Burbage, James 13 English Renaissance 9 imagination 4, 14–15, 16–17 caesurae 45 Racine 24 Camonte, Tony 95 Shakespeare 13, 24 Camus, Albert 120 solitary experience 121–2 cannibalism 77, 91 Webster 39 Castelvetro, Lodovico 38 catastrophe 51, 58, 86 Bacchae (Euripides) causality 56 chorus 7–8 Cave, Terence 69 132 Index censorship 14 Cocteau, Jean Chandler, Raymond 72 Antigone 120 Chapelain, Jean 20, 40 La Machine infernale 120 character fl aws 55–6, 85–7 Coleridge, Samuel Taylor 65, 116 characters Comédiens du Roi 17 nameless 102 comedy 107 plot 84–5 commedia, Spain 78 see also heroes; women in tragedy common man 101–2, 104–5 Chaucer, Geoffrey communality 122 The Canterbury Tales 58 confl ict (agon) children, killing of 76, 77 desire 54–5, 73–81 Chinatown 73 ethical 74–5 choice 87, 100 family/state 75–6 choragus (sponsor) 3 heroes 84 choral odes 3, 5, 34–5, 36 see also tension chorus conventions of representation actors 5, 34 8–9 advice 88, 90 Coppola, Francis Ford Aeschylus 36 Godfather trilogy 68 anapaest 44 Corneille, Pierre composition of 3, 4–5 Le Cid 40, 78–9, 99 cross-dressing 7 Cinna 40, 99 English Renaissance tragedy 37 heroes 93 episodes 34, 35 Horace 40 Euripides 7–8, 37 Polyeucte 40 parodos 34 theaters 17–18 realism 37 women 99 Sophocles 36–7 Cox, Jeffrey 103–4 tension 35–7 Crawford, Joan 100, 101 Christianity 59, 85 Creon 74, 75, 89–90, 97–8, Cinthio, Giambattista Giraldi 102 Orbecche 91 cruelty 11 Citizen Kane 63–4 see also violence City Dionysia 2–3 civic obedience 89 daimon 54, 58, 88 class Daniel, Samuel audience 24 The Tragedy of Cleopatra 110 heroes 85 Davis, Bette 100–1 verse/prose 45–6 De Grazia, Margreta 13, 116 Cleopatra 88, 92–3, 98, 106 death/birth 83 Clytemnestra 34–5, 58, 88, decorum 62, 84–5, 93 96, 97 democracy 115 133 Index desire inside/outside stages 12 confl ict 54–5, 73–81, 91 knowledge/belief 2 fi lm 80–1 meter 46 French neoclassical tragedy 78–9 musicians 11 overreaching 91 on-stage action 4 Renaissance 77–8 origins 12–13 Romantic tragedy 79–80 passion 78 women 98–9 revenge 66–8 destiny, double 101 stage effects 11 see also fate tragedy/history 109 detective genre 72–3 unities of time/place/action 38–9 deus ex machina 3 English theater Dietrich, Marlene 81 domestic tragedy 103 Dionysus indoors/open-air 1–2 The Bacchae 6–8, 64–5, 90, 97 neoclassical tragedy 39 Greek tragedy 34 overreaching hero 91–2, 93 see also Theatre of Dionysus revenge tragedies 66–7 disaster fi lms 63 see also specifi c playwrights distancing 106 enjambment 46–7 dithyramb 34 episodes (dialogue scenes) 34, 35 divine agency 56 epode (summary) 44 dochmiac 44 essentialist readings 113–14 domestic tragedy 103 ethos/daimon 54, 88 duty/love 79 Euripides and Aeschylus 48 Eagleton, Terry 53 agon 74 eisodoi (ramps) 3–4 The Bacchae 6, 12, 14, 15, 37, ekkyklema (wheeled platform) 3 64–5, 90, 97 Eliot, T. S. chorus 7–8, 37 The Family Reunion 37 everyday life tragedy 102 on Hamlet 116–17 Hecuba 87 Murder in the Cathedral 37, 47, Heracleidae 95 87, 88 Heracles 76–7 Elizabethan theater 28–9, 119 Hippolytus 64, 79, 102 end-stopped line 45 Ion 37 English Renaissance tragedy Iphigenia in Aulis 87, 97 audience 9 Iphigenia in Tauris 69 blank verse 44–5 Medea 76, 88, 96, 97 chorus 37 The Trojan Women 97 heroes 93 Eve 59 illusion 9–17 existentialism 119, 120 imagination 4, 14–15, 16–17 exodos (fi nal scene) 34 134 Index experience, communality 122 Frye, Roland Mushat 117 Ezzelino III 91, 108–9 The Furies 69, 77, 96 Fagles, Robert 52, 69, 70 gangster fi lms 68, 94–5 family/state confl ict 75–6 Garnier, Robert fate 54, 59, 72 Tragedy of Antony 110 Faustus, Johannes 59–60, 92 gender fi lm agency 98 desire 80–1 destiny 76 overreacher hero 94–5 heroes 85, 88 popular culture 121–2 identity 76 revenge plots 68 Germany reversal of fortune 63 domestic tragedy 103 time 30 heroes 85 tragedy 28–31 neoclassicism 41 see also gangster fi lms Romantic critics 85 fi lm noir 72–3, 100–1 Girard, René 86–7 Fjelde, Rolf 27–8 Giraudoux, H. Jean Ford, John Amphitryon 120 ’Tis Pity She’s a Whore 78, 92 Électra 120 form/art 53 The Trojan War Will Not Take Place fortune, tragedy of 55–64 120 Fortune, wheel of 58, 61 Globe Theatre see also reversal of fate outdoor theater 12, 13 freedom 54 reconstructed 17 French neoclassical tragedy Shakespearean tragedy 9, 14–15, desire 78–9 106 heroes 93 Godeau, Pierre 20 iambic hexameter 46 Godfather trilogy 68 painted scenery 20 Goldhill, Simon 115 representation 22–3 Goodkin, Richard 20 space 22–3 Gottsched, Johann Christoph 41 stage design 19–20 Gould, John 115 theaters 2, 17–18 Greek tragedy vraisemblance 20, 21, 23, 28, 40 anachronism 115 French Romanticism 41 audience 28 Freud, Sigmund causality 56 on Hamlet 116 heroes 85 Oedipus complex 113–14 illusion 8 Freudian thought 120 legalistic language 74 frons scaena 20 masks 5–6 Frye, Northrop 54 meter 43–4 135 Index Greek tragedy (cont’d) hero cult 89 offstage action 4 heroes open air 1–2 Aeschylus 89 popular culture 119 Antigone 75 prologue 34 class 85 public performance 95 confl ict 84 reason/passion 76 criminality 80 religious/civic 3, 115 detective genre 72–3 stage machinery 3–4 English Renaissance tragedy 93 structure 33–5 French neoclassical tragedy 93 women 88 gender 85, 88 see also actors; chorus German critics 85 Greenblatt, Stephen 117 Herculean 89 Greene, Robert 45 Hugo 99–100 groundlings 9 Marlowe 91–2 guilt 56, 68, 87 overreaching 88–95, 105 sacrifi ce 87–8 hamartia (mistake) 55, 61, 85–7 Seneca 90–1 Hamlet 67, 71–2, 84 suicide 101 Hamlet (Shakespeare) tragedy 84 fi lm version 29 truth 72–3 genre 109 hexameters 44 Hamlet 11, 33, 45–6, 67, Heywood, Thomas 71–2, 84 A Woman Killed with Kindness interpretation of 116–18 103 poetry/prose 45–6 history silence 51 myth 9 theaters 12 poetry 107–8 unities 40 tragedy 43, 60–1, 106–18 Hammett, Dashiel honor/love 99 The Maltese Falcon 72 Hôtel de Bourgogne 17–18, 23 Hardy, Thomas 70 Mémoire de Mahelot 20 Hauptmann, Gerhardt Howarth, WIlliam 93 The Weavers 104 hubris 63, 88 Hawks, Howard 95 Hughes, Thomas Hegel, Georg Wilhelm Friedrich The Misfortunes of Arthur 44 Lectures on Fine Art 74–5 Hugo, Victor 68 Henry VII 109 Cromwell 41, 47, 111 Henslowe, Philip 11 Hernani 41, 93–4, 99 Heraclitus 54 heroines 99–100 Herculean hero 89 Lucretia Borgia 99–100 Herington, John 36, 48 Ruy Blas 80, 99, 100 136 Index Iago 65–6 imagination 14–15 iambic hexameter 46 Lear 15–16, 49–50, 60–2, 98 iambic pentameter 44 reversal of fate 60–2 iambic trimeter 43–4, 45 servants 102 Ibsen, Henrik theaters 12, 14–15 A Doll’s House 25–6, 100 Kiss Me Deadly 72–3 Hedda Gabler 84, 100, 104 knowledge 69, 72 modernity 24, 47 see also recognition stage 2, 24–5, 26–8 Knox, Bernard 57–8, 88–9, 114–15 identity 76 kommos (lamentation) 34, 35 illusion Kyd, Thomas English Renaissance tragedy 9–17 The Spanish Tragedy 66–7 Greek theatre 8 imagination, audience 4, 14–15, language 16–17 everyday 49–50 incest 78, 91, 92 legalistic 74 introspection 35–6 meter 43–4 Italian classical theater 19 tragedy 32–3, 47–8 Lawrenson, Thomas 23 Jacobean tragedy 11 Lear, King 15–16, 49–50, 60–2, 98 James VI and I 16 Lessing, Gotthold Ephraim Jarrett, Cody 95 Miss Sara Sampson 103 Jason 76, 97 Levin, Harry 91–2, 117 jealousy 76 Lillo, George Joan of Arc 88 The London Merchant 62–3, 103 Johnson, Samuel 62 Little Caesar 94 Jones, Inigo 12 Lloyd, Michael 74 Jones, John 85 Loraux, Nicole
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