Explore the vast range of titles available.

One of the founding characters of the ancient drama is the Chorus, the collective voice in front of an individualized actor. Taking the theoretical foundation of chorus as an essential element of dramaturgy, its function is compared in sex plays of two different times, authors, and geographical zones: classical Greek tragedy and the Silver Age of the Spanish theatre. The aim of this work is to study how the chorus relates to other characters through the analysis of social networks that are generated on the scene. The object of the comparative study are three Greek works: Elektra by Sophocles, Iphigenia Among the Taurians by Euripides and The Eumenides by Aeschylus, against three modern Spanish dramas: Luces de bohemia by Valle-Inclán, Yerma and La casa de Bernarda Alba by García Lorca hosted in the Drama Corpora Project (DraCor). Graph visualization and analysis are applied for their digital study.

This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part of cultures where presentation is a major element of all social and political life. Individual chapters range across a two thousand year timescale, and include specific chapters on acting traditions, masks, properties, playing places, festivals, religion and drama, comedy and society, and commodity, concluding with the dramatic legacy of myth and the modern media. The book addresses the needs of students of drama and classics, as well as anyone with an interest in the theatre's history and practice.

This paper focuses on the study of the spatial dimensions in Antígona González (2012), by Sara Uribe. The piece, created as a rewriting of Sophocles' classic play, brings to our times the core problem of the original work to place it in the current climate of violence and disappearances in Mexico. This adaptation highlights the similarities and differences between the two works, while revealing the hybridism and specificity of this creole Antigone. Based on a brief review of theoretical literature by Janus Slawinski (1989), Elisabeth Bronfen (1986) and Ottmar Ette (1995; 2008), an analysis is presented of the textual, geographical and metaphorical dimensions of the piece, as well as of how each of these dimensions relates, respectively, to the dramatic, narrative and poetic aspects developed throughout the text. A global or comprehensive understanding of the piece as a whole is thus provided.

One of Bertolt Brecht’s most famous poems, Mein Bruder war ein Flieger , is often invoked as a manifesto for pacifist ideals, but some essential questions (who is the lyric I? what is the literal meaning of the poem?) have hardly received any attention. By evoking the poem’s nature as a Kinderlied , the context of its first publication, and its relationship with Brecht’s play Die Gewehre der Frau Carrar , this article tentatively identifies the source of its final pointe in a famous passage of Aeschylus’ Seven against Thebes , thereby suggesting—on the basis of textual comparisons—an example of far-reaching, ideological Antikerezeption in Brecht’s oeuvre, working all the way down to his Kalendergeschichten and to his Antigone .

In the conclusion of Aeschylus's Oresteia, Athena declares that deinon—typically translated “fear” or “terror”—should be held at the heart of the polis for all time. This move is allegorized by the enshrining of the Erinyes (or Furies) in the Athenian Acropolis. This has been interpreted variously as a charter for political absolutism, a justification of the repression of matrilineal relationships, or as an expression of the often paradoxical manifestation of divinity in Greek tragedy. This article argues that deinon is an example of Aeschylus's use of a mythical mode of thought that rational discourse cannot easily access. To elaborate the meaning of Athena's deinon, I examine its shifting role in the Oresteia, alongside that of the Erinyes, and find modern analogues in the ideas of the sublime and the uncanny. In these concepts, post-Enlightenment reason theorizes paradoxes that were inherent properties of mythical reality to the archaic mind. By exploring the correspondences between these ancient and modern terms, I demonstrate how Aeschylus unites mythical and political thought in a performance of myth that expresses and accommodates the logical anomalies of human experience.

The pandemic generated by COVID-19 is having an unusual global incidence, and it can be assumed that nothing after it will remain exactly the same. The language is accepting new terms to designate it, and revitalizing others that were in disuse. And in the language of politicians, unmistakable warlike terms are introduced to refer to this new plague. The social practices used to express human relationships are being extremely conditioned. And as an emblem of the situation emerges the mask, whose material origins are in the Greek theater and from this language gave rise to the semiotically very interesting concept of person. As for the fine arts, literature does not suffer from the pandemic conditioning of social distance that impairs the performance of theatrical and musical activities. But what Benjamin called \"the era of technical reproducibility\" offers some solutions in this regard.

La noción de espectáculo, que suele asumirse negativamente desde la opinión y la crítica, especialmente la relativa a los mass media, debe ser revitalizada como espacio de enunciación que se sitúa más allá de la lógica mediática. Antígona, la figura de Sófocles, es un ejemplo de esta lógica espectacular a la que nos referimos.

En este trabajo proponemos examinar la apropiación de características reconocidas del teatro trágico griego en piezas de Elena Garro; consideramos en forma unificada las constantes de la tragedia ática postuladas igualmente por Esquilo, Sófocles y Eurípides, en tanto todos ellos partieron de la mitología recreándola con libertad (Romilly 171). Relevamos tres requisitos de la tragedia ática —la misión del héroe, la presencia del destino, la pertenencia a la comunidad de lapolis — y los consideramos en la lectura de tres piezas selectas de Garro, a saber, Un hogar sólido, Los pilares de doña Blanca y La señora en su balcón.

In a series of interconnected essays, Charles Segal studies five of Sophocles' seven extant plays: Ajax, Oedipus Tyrannus, Philoctetes, Antigone, and the often neglected Trachinian Women.

This paper analyses the tragedy El Philoctetes, adaptation of the Sophoclean play by the Jesuit José Arnal (1729-1790), teacher, translator of classical authors and poet. This tragedy is classed in some places as translation; however, it was an adaptation that was made of the Greek drama to be represented by students of classical languages in Zaragoza at the beginning of the decade of 1760; it was published in Zaragoza in 1764, before the expulsion of the Society of Jesus, and doubly reissued, years later, in Barcelona. El objetivo de este trabajo es analizar la tragedia El Philoctetes, adaptación de la obra sofoclea realizada por el jesuita turolense José Arnal (1729-1790), profesor, traductor de autores clásicos y poeta. Esta tragedia figura en algunos lugares como traducción; sin embargo, fue una adaptación de la obra griega que se realizó para ser representada en las Escuelas de Latinidad de Zaragoza a comienzos de los sesenta del siglo XVIII y publicada en Zaragoza, en 1764, antes de la expulsión de la Compañía de Jesús y doblemente reeditada, años más tarde, en Barcelona.