DOCSLIB.ORG

Third Year Major Special Subject RECEPTIONS of GREEK TRAGEDY Dr Pantelis Michelakis and Dr Vanda Zajko Teaching Block 2: 2008-9 Unit Code CLAS32347: 40 Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Third Year Major Special Subject RECEPTIONS of GREEK TRAGEDY Dr Pantelis Michelakis and Dr Vanda Zajko Teaching Block 2: 2008-9 Unit Code CLAS32347: 40 Credits Third Year Major Special Subject RECEPTIONS OF GREEK TRAGEDY Dr Pantelis Michelakis and Dr Vanda Zajko Teaching Block 2: 2008-9 Unit Code CLAS32347: 40 Credits This unit will take as its focus six of the most influential ancient Greek plays and moments in their reception history in the 20th Century. It will explore the broad question of how the modern world has appropriated Greek drama to make sense of and interrogate its own identities. We will study a selection of theoretical, theatrical and cinematic texts which raise important issues about the possibility of cultural translation and the politicisation of the classical past. We will consider a number of the following questions: What is tragedy? To what extent is it a theoretical concept or a set of formal generic conventions? What is reception? How do reworkings of Greek tragedy in a variety of media contribute to ongoing debates about the changing images of what constitutes the classical? Does the study of texts in performance pose particular problems for reception history? The themes addressed will include the role of genre, Marxism, colonisation, the nature of modernity, psychoanalysis, feminism, memory and history, elitist and popular cultures. On successful completion of this unit students should: • be familiar with the differing ways in which tragedy has been configured in the texts studied, and the uses to which these have been put • have developed their skills in reading and interpreting different kinds of texts in relation to issues of reception and translation • be able to use the knowledge acquired in seminars and through independent research to construct coherent, relevant and critical arguments concerning the interpretative issues raised by the texts studied • have had the opportunity to develop their skills in oral and written communication, in making seminar presentations and in discussing the presentations of others, and in essays and written exams Contact hours and mode of teaching: 4 hours per week, seminars Pre-requisites: none Minimum and maximum numbers: 7 and 15 Assessment: 1 essay of approx. 3000 words (50 marks); 1 seminar presentation (50 marks); 1 three-hour exam worth 100 marks consisting of 3 passages (out of 8) for comment (50 marks) and two essay questions (out of 8; 50 marks). Total: 200 marks. Set Texts will include: Tony Harrison, Prometheus - video available from tutors, published screenplay (1998) Faber Igor Stravinsky/Jean Cocteau, Oedipus Rex (1928)* Stephen Berkoff, Greek in S. Berkoff The Collected Plays vol.1 (1994) Faber Pier Paolo Pasolini, Medea (1970) - video of film available from tutors Yukio Ninagawa, Medea - video of stage production available from tutors Martha Graham Night Journey – video of production available fro tutors Marina Carr, Ariel (2002) The Gallery Press Arianne Mnouchkine Les Atrides (stage production 1991-3) - visual material available from tutors. Aristotle, Poetics, ed. S. Halliwell, Duckworth Friedrich Nietzsche, The Birth of Tragedy ed. R. Guess & R. Speirs, CUP Arthur Miller, ‘Tragedy of the Common Man’* Tony Harrison’s introduction to published screenplay of Prometheus N.B. Starred items will be distributed by tutors. Students will be expected to have read in translation by the start of the unit Aeschylus’ Prometheus and Oresteia, Sophocles’ Oedipus the King, Euripides’ Medea and Iphigenia at Aulis Essential Reading P. Easterling (ed.) (1996) The Cambridge Companion to Greek Tragedy, CUP, esp. section on reception E. Hall et al. (eds.) (2004) Dionysus Since 69: Greek Tragedy at the Dawn of the Third Millennium, OUP, esp. ch.1 (introduction) L. Hardwick (2003) Reception Studies, OUP A. Poole (2005) Tragedy: a Very Short Introduction, OUP D.Wiles (2000) Greek Theatre Performance: An Introduction, CUP, esp. section on reception .
Load more

Recommended publications
  • Ninagawa Company Kafka on the Shore Based on the Book by Haruki Murakami Adapted for the Stage by Frank Galati
    Lincoln Center Festival lead support is provided by American Express July 23 –26 David H. Koch Theater Ninagawa Company Kafka on the Shore Based on the book by Haruki Murakami Adapted for the stage by Frank Galati Directed by Yukio Ninagawa Translated by Shunsuke Hiratsuka Set Designer Tsukasa Nakagoshi Costume Designer Ayako Maeda Lighting Designer Motoi Hattori Sound Designer Katsuji Takahashi Hair and Make-up Designers Yoko Kawamura , Yuko Chiba Original Music Umitaro Abe Chief Assistant Director Sonsho Inoue Assistant Director Naoko Okouchi Stage Manager Shinichi Akashi Technical Manager Kiyotaka Kobayashi Production Manager Yuichiro Kanai Approximate performance time: 3 hours, including one intermission Major support for Lincoln Center Festival 2015 is provided by The Andrew W. Mellon Foundation. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. Lincoln Center Festival 2015 is made possible in part with public funds from the New York City Department of Cultural Affairs, New York State Council on the Arts, and the National Endowment for the Arts. The Lincoln Center Festival 2015 presentation of Kafka on the Shore is made possible in part by generous support from the LuEsther T. Mertz Charitable Trust. Additional support provided by Mitsui & Co. (U.S.A.), Inc., Marubeni America Corporation, Mitsubishi Corporation (Americas), Sumitomo Corporation of Americas, ITOCHU International Inc., Mitsubishi Heavy Industries America, Inc., and Nippon Steel & Sumitomo Metal U.S.A., Inc. Co-produced by Saitama Arts Foundation, Tokyo Broadcasting System Television, Inc., and HoriPro, Inc. LINCOLN CENTER FESTIVAL 2015 KAFKA ON THE SHORE Greeting from HoriPro Inc. HoriPro Inc., along with our partners Saitama Arts Foundation and Tokyo Broadcasting System Television Inc., is delighted that we have once again been invited to the Lincoln Center Festival , this time to celebrate the 80th birthday of director, Yukio Ninagawa, who we consider to be one of the most prolific directors in Japanese theater history.
    [Show full text]
  • Shakespeare and East Asia Alexa Alice Joubin
    New From Oxford Shakespeare and East Asia Alexa Alice Joubin 30% OFF ow did Kurosawa influence George Lucas and Star Wars? Why do critics repeatedly use the adjective “Shakespearean” to Hdescribe Bong Joon-ho’s Parasite (2019)? What are the connections between cinematic portrayals of transgender figures and disability? Shakespeare and East Asia analyzes Japanese innovations in sound and spectacle; Sinophone uses of Shakespeare for social reparation; conflicting reception of South Korean films and touring productions to London and Edinburgh; and multilingualism in cinema and diasporic theatre in Singapore and the UK. Features • The first monograph on Shakespeare on stage and on screen in East Asia in comparative contexts • Presents knowledge of hitherto unknown films and stage adaptations • Studies works from Japan, China, Taiwan, Hong Kong, South Korea, Singapore, and the UK • The glossary and chronology provide orientation regarding specialized vocabulary and timeline January 2021 (UK) | March 2021 (US) Oxford Shakespeare Topics Paperback | 9780198703570 | 272 pages £16.99 £11.89 | $20.00 $14.00 Hardback | 9780198703563 | 272 pages £50.00 £35.00 | $65.00 $45.50 Alexa Alice Joubin is Professor of English, Women’s, Gender and Sexuality Studies, Theatre, East Asian Languages and Literatures, and International Affairs at George Washington University where she serves as founding Co-director of the Digital Humanities Institute. Order online at www.oup.com/academic with promo code AAFLYG6 to save 30% OUP CORRECTED PROOF – FINAL, 8/12/2020, SPi Contents List of Illustrations xi A Note on the Text xiii Prologue: The Cultural Meanings of Shakespeare and Asia Today 1 1. “To unpath’d waters, undream’d shores”: Sound and Spectacle 22 2.
    [Show full text]
  • A Survey of Shakespearean Performances in Japan from 2001-2010
    A Survey of Shakespearean Performances in Japan from 2001-2010 Kosai Ishihara Osamu Hirokawa 1. An Overview of Shakespearean Performance in Japan We are going to survey the performances on Shakespeare in this century. The Shakespeare Institute of Komazawa University has been compiling data on Shakespeare in Japan. We would like to exhibit how widely Shakespeare has been appreciated by people in and around Tokyo on the evidence of the performance records for the ten years from 2001 to 2010, based mainly upon the data of Nihon Sheikusupia Soran ( A General Survey of Shakespeare in Japan), composed by Takashi Sasaki, a member of The Komazawa University Shakespeare Institute. *(Table 1) The annual number of performances in the 1980s came to around 20-30 but increased to about 60-70 in the 1990s. The peak year of the 1990s was 1991, when the Fifth World Shakespeare Congress was held in Tokyo; in the autumn the Japan Festival of Great Britain was held in Great Britain. A total of 93 plays was performed that year. As the graph above shows, the lower rate of the early 2000s peaked again in 2002. In the recent years more than 100 Shakespearean productions have been staged. The fi gures include all performances, varying － 1 － Kosai Ishihara, Osamu Hirokawa from small amateur groups to large professional companies, from authentic British productions to traditional Japanese productions. Most of the plays staged in Japan are performed in Japanese, sometimes highly adapted. Once Shakespeare’s plays are translated into Japanese they are no longer strictly Shakespearean, since the structural differences between English and Japanese detract from his beautiful rhyme, accent, rhythm and imagery.
    [Show full text]
  • Coriolanus, the Globe, London
    CAHIERS ÉLISABÉTHAINS 70 AUTUMN 2006 Coriolanus, The Globe, London. Jonathan Cake (Coriolanus), Mo Sesay (Aufidius). Photograph courtesy of John Tramper. Titus Andronicus, The Globe, London. Photograph courtesy of John Tramper. 46 PLAY REVIEWS UK Spring/Summer Season 2006 Please note that reviews of RSC and guest company productions for the 2006-2007 Complete Works Festival at Stratford-upon-Avon will be published in a special issue (see p. 88 for details and subscription) Coriolanus, directed by Dominic Dromgoole, The Foakes recently lamented, the reconstructed Globe Globe, London, 10 May 2006, first gallery, stage cen- “is not the kind of experimental theatre some of us tre. hoped for [and yet it continues to establish] for thou- sands of visitors a fixed idea of an Elizabethan stage ppointed in March 2006 as the Artistic Director that may well be erroneous in many respects”.1 Aof the Globe, Dominic Dromgoole (formerly Dromgoole’s Coriolanus typified exactly the pa- of Oxford Stage Company) directed Coriolanus as ralysis of a theatre hamstrung by the need to look his inaugural production in a season labelled with Jacobean even while attempting to make connections Globish modishness, “The Edges of Rome”. Why between a Roman world and the twenty-first centu- Dromgoole has decided to continue Mark Rylance’s ry. Iconic of this uncomfortable compromise were the idea of a themed season is anyone’s guess — though costumes (designed by Mike Britton): Elizabethan the RSC has also been culpable in its stagings of his- doublets (with ruffs) and hose over which was tories (2000), tragedies (2004) and comedies (2005), draped a Caesarean swag.
    [Show full text]
  • Helen Gush: the World Theatre Season. Internationalism and Innovation. In
    Helen Gush: The World Theatre Season. Internationalism and Innovation. In: Festivals als Innovationsmotor? Hg. v. Alexandra Portmann, Beate Hochholdinger-Reiterer. Berlin: Alexander 2020 (itw : im dialog 4), S. 29–43. 4 Helen Gush (Theatre and Performance Collection, Victoria and Albert Museum London) The World Theatre Season Internationalism and Innovation The end of the Second World War proved a catalyst for the establish- ment of two of Europe’s most significant international theatre festivals, alongside numerous organisations that identified as ›international‹. The Edinburgh International Festival of Music and Drama and the Avignon Festival each launched in 1947, while numerous international theatre institutions emerged over the following two decades.1 The use of the term ›international‹ in this context is indelibly linked to the post-War notion of using culture to bind nations together after the division of conflict, an ideal which was grounded in a humanist belief that artistic expression could transcend difference and appeal to a common humanity. In her history of the Edinburgh Festivals, Angela Bartie suggests that culture was given »new values« (Bartie 2013: 2) in the immediate post-War period. She describes the foundation of the Edinburgh International Festival as »a means of spiritual refresh- ment, a way of reasserting moral values, a rebuilding of relationships between nations, of shoring up European civilisations and of provid- ing ›welfare‹ in its broadest sense« (Bartie 2013: 2). David Bradby and Maria M. Delgado describe the foundation of the international festival in Avignon in similar terms as having »the explicit aim of healing the divisions caused by the Second World War« (Bradby/Delgado 2012: 5).
    [Show full text]
  • Last Shakespeare Plays Directed by Yukio Ninagawa: Possessed by the Power of Theater
    Journal of Literature and Art Studies, March 2017, Vol. 7, No. 3, 269-277 doi: 10.17265/2159-5836/2017.03.004 D DAVID PUBLISHING Last Shakespeare Plays Directed by Yukio Ninagawa: Possessed by the Power of Theater Emi Hamana Tokyo Woman’s Christian University, Tokyo, Japan Yukio Ninagawa (1935-2016) was expected to achieve in a few years the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations. This paper reconsiders Ninagawa’s direction from a global/local perspective with a special focus on several last works directed by him: Richard II, performed by young players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director’s internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This paper concludes, however, that while possessed by the power of theater, his direction emits its magical and subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He continued to hope to make global and local spectators wonder at the plays he directed. Keywords: Shakespeare, Yukio Ninagawa, the power of theater, wonder, affect Introduction In a few years, Yukio Ninagawa (born in 1935, he first directed Shakespeare’s play Romeo and Juliet in 1974 and died on 12 May 2016), arguably one of the most famous Japanese directors in the world, was expected to achieve the great milestone of directing the complete collection of Shakespeare plays in new Japanese translations.
    [Show full text]
  • Japanese Production of the Global Sensation to Premiere in Tokyo, Japan in Summer 2022!
    JAPANESE PRODUCTION OF THE GLOBAL SENSATION TO PREMIERE IN TOKYO, JAPAN IN SUMMER 2022! The internAtionAlly acclaimed, Harry Potter and the Cursed Child, will mAke its JapAnese premiere in the summer of 2022, it wAs Announced todAy by producers Sonia Friedman, Colin Callender, Harry Potter Theatrical Productions, along with Japanese partners TBS and HoriPro, and the Ambassador Theatre Group (ATG). Currently enjoying sold out runs in London, New York, Melbourne And SAn FrAncisco, Harry Potter and the Cursed Child will be presented in AsiA for the first time. The JApAnese production will be the second non-English version of the play, after the German premiere next month. Harry Potter and the Cursed Child will be produced in Japan by HoriPro (Billy Elliot the Musical, Mary Poppins) and will run at TBS Akasaka ACT Theater As pArt of TBS’s 70th Anniversary celebration. In AnticipAtion of this event, TBS AkAsAkA ACT TheAter will undergo major renovAtion beginning in 2021 and re-open As A site-specific venue for Harry Potter and the Cursed Child. For more information about the on-sale please check HarryPotterOnStage.com/JP A continuation of the beloved best-selling novel series by British author J.K. Rowling, Harry Potter and the Cursed Child takes plAce nineteen years After the finAl novel, Harry Potter and the Deathly Hallows, And is the only officiAl Harry Potter story to be presented on stage. Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne, directed by John Tiffany.
    [Show full text]
  • Introduction: Shakespeare in Modern Japan
    Multicultural Shakespeare: Translation, Appropriation and Performance vol. 14 (29), 2016; DOI: 10.1515/mstap-2016-0012 ∗ Yoshiko Kawachi* Introduction: Shakespeare in Modern Japan In Newsletter sent from the Shakespeare Birthplace Trust, Lisa Peter writes: As Shakespeare is generally considered one of the most English playwrights, it is quite astonishing that his plays travel so well. After all, why should, for example, the story of a Scottish king like Macbeth be of any relevance to people in India or in China?1 In my view, the story of Macbeth is relevant to people in Japan. Akira Kurosawa’s Kumonosu-jo [Throne of Blood], a world famous film adaptation of Macbeth, proves the relevance. Seeking the beauty of Noh in it, he succeeded in fusing Shakespeare and Japanese culture. Shakespeare, a globe-trotter, arrived in Japan in the middle of the nineteenth century when she promoted her rapid Westernization or modernization. To the Japanese, being “modern” meant having an economic system of industrial capitalism and a political system of liberal constitutionalism built up in the United States and European countries. Calling Shakespeare “Sao” affectionately, the Japanese accepted him as a cultural hero, and read translations of his works and saw his plays adapted for the Japanese stage. A notable feature of Shakespeare appropriation in the Meiji era (1868-1927) was to adapt his plays for Kabuki theatre, because hardly anyone had seen European drama. This method was highly effective to popularize Shakespeare and disseminate Western culture as well as to give the Japanese an opportunity to know things European. The Japan premiere of Shakespearean drama was Sakuradoki Zeni no Yononaka [The season of Cherrry Blossoms: The World of Money], an adaptation of The Merchant of Venice which was dramatized by Hikozo Katsu and performed by the Nakamura Sojuro Kabuki Company in 1885.
    [Show full text]
  • Stage by Stage South Bank: 1997 – 2002
    Stage by Stage South Bank: 1997 – 2002 Stage by Stage The Development of the National Theatre from 1848 Designed by Michael Mayhew Compiled by Lyn Haill & Stephen Wood With thanks to Richard Mangan and The Mander & Mitchenson Theatre Collection, Monica Sollash and The Theatre Museum The majority of the photographs in the exhibition were commissioned by the National Theatre and are part of its archive The exhibition was funded by The Royal National Theatre Foundation Trevor Nunn. Photograph by John Haynes. 1997 McGuinness (Mutabilitie), and Tennessee January: Richard Eyre is knighted in the New Williams (Not About Nightingales); and Year’s Honour’s List; his new production of new versions of Bulgakov’s Flight by Ron King Lear, starring Ian Holm, causes long Hutchinson, and Ravencroft’s The London queues outside the Cottesloe. Cuckolds by Terry Johnson. Work begins on renewing the front of house Othello, directed by Sam Mendes, embarks on and continues for over 12 months. The work a world tour which includes first visits by the includes giving the Theatre a new main National to Korea, New Zealand, and mainland entrance, closer to the riverside. The fourth China. year of stand-still grant from the Arts Council of England results in a reduction in real terms of October: Trevor Nunn succeeds Richard Eyre £1.9 million; one of the results is a straight run as Director. of performances of Guys and Dolls throughout the summer instead of the usual choice of With funds from the Royal National Theatre repertoire. Endowment Fund and the National Lottery Fund, the NT buys the Old Vic Annexe, home New plays by Peter Gill (Cardiff East), David to the Studio.
    [Show full text]
  • Yukio Ninagawa's the Merchant of Venice (2013):A Rejection of Interculturalism
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE Yukio Ninagawa’s The Merchant of Venice (2013):A Rejection of Interculturalism 著者 KOMINE Tomoe journal or SHIRON = Essays in English Language and publication title Literature volume 53 page range 1-19 year 2018-11-30 URL http://hdl.handle.net/10097/00125616 SHIRON No.53 (2018) Yukio Ninagawa’s The Merchant of Venice (2013): A Rejection of Interculturalism Tomoe Komine Introduction The late Yukio Ninagawa (1935–2016) achieved global fame in his lifetime as a theatre director, particularly for his Shakespearean productions. In 1985, his spectacular Ninagawa Macbeth (premier Tokyo, 1980; Edinburgh, 1985) was received with great acclaim at the Edinburgh Festival and launched Ninagawa as a successful international director. Ninagawa’s use of traditional Japanese Buddhist imagery alongside, and in contrast to, modern music, as well as his fusion of Shakespeare’s text with Japanese traditional theatre, appeared fresh to British audiences, who were transfixed by this experience of, as Michael Billington from The Guardian described it, a ‘melancholic meditation on human transience’ (August 22, 1985). Indeed, many people were swept away by Ninagawa’s international productions and foresaw a bright future for such intercultural performances in the world of theatre. During the same period, as theatre groups worldwide began to study and perform on a global stage, the debate around ‘interculturalism’ in theatre became a topic du jour, and was commented on both directly and indirectly in the work of many directors and theorists. Very quickly, the adjective ‘intercultural’ began to be applied to Ninagawa’s productions,1 particularly his Shakespearean oeuvre.
    [Show full text]
  • An Annotated Bibliography: Criticism on Ninagawa Shakespeare 1985
    Wada 1 Kanae Wada Dr. Eijun Senaha Scholar & Scholarship I 24 March 2019 An Annotated Bibliography: Criticism on Ninagawa Shakespeare 1985-2019 Introduction This annotated bibliography focuses on the criticisms of Shakespeare productions directed by Yukio Ninagawa (1935-2016) since 1985 and aims to contribute to both the research on Ninagawa and recent studies on intercultural Shakespeare. Through this project, it has been found that many scholars criticised Ninagawa Shakespeare productions until the beginning of the twenty-first century, but scholars came to argue Ninagawa Shakespeare favourably after that. By tracing the history of criticism on Ninagawa’s Shakespeare productions, we can see that scholars tried to challenge his intercultural Shakespeare productions by incorporating a new perspective. However, theorising his intercultural Shakespeare adaptations, in which different theatrical modes are co-existing in a play, is still not easy work even in the twenty-first century. Yukio Ninagawa was one of the world-leading theatre directors who staged thirty- two Shakespeare productions throughout his career. He directed his first Shakespeare production, Romeo and Juliet, at Nissei Theatre in Tokyo in 1974. His debut to the Wada 2 international theatre was at the Edinburgh International Festival in 1985, where he staged his representative work, Ninagawa Macbeth. Since his debut, Ninagawa staged Shakespeare productions nineteen times at the foreign theatres throughout his career, including four times for Ninagawa Macbeth, twice for The Tempest and three times for A Midsummer Night’s Dream. Although Ninagawa mainly directed his productions in Japanese, he also conducted in English twice. One was King Lear collaborating with the Royal Shakespeare Company (RSC) in 1999, and the other was Hamlet in 2004.
    [Show full text]
  • The Making and Unmaking of Medea in Ancient Greek Image and Text
    Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects 2018 The urM dering Mother: The akM ing and Unmaking of Medea in Ancient Greek Image and Text Madison Skye Lauber Bard College Recommended Citation Lauber, Madison Skye, "The urM dering Mother: The akM ing and Unmaking of Medea in Ancient Greek Image and Text" (2018). Senior Projects Spring 2018. 185. https://digitalcommons.bard.edu/senproj_s2018/185 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Spring 2018 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. The Murdering Mother: The Making and Unmaking of Medea in Ancient Greek Image and Text Senior Project Submitted to The Division of Languages and Literature of Bard College by Madison Skye Lauber Annandale-on-Hudson, New York May 2018 This project is dedicated to my grandmother, Annette Prince, who has been there since the beginning, telling me “go Homer!” Acknowledgements There are many people without whom I could not have produced a senior project quite like this. First and foremost, my advisor, Rob Cioffi, whose patience and guidance were instrumental during this process. Thank you for helping me bring my ideas to the page and your continuous support these last four years. Thank you to Daniel Mendelsohn and Diana DePardo Minsky, for taking the time to read my project, sit on my board, and provide invaluable support. It has been an honor to have worked with both of you during my Bard career.
    [Show full text]