In the context of intersectional gender economies, collaborative genealogies, and hierarchies of (in)visibility in theatre making, this inquiry turns to Christine Longford's little-known play-version ...The Furies (1933) to explore how gender exclusions, class privileges, and uneven dynamics of spousal joint authorship have historically been overlooked within modern Irish theatre history. By examining the trajectory of her partnership with the Dublin Gate Theatre's male artistic collaborators, i.e., her spouse Edward Longford as well as Hilton Edwards and Micheál Mac Liammóir (also known as The Boys), this study further attends to the ways Christine Longford created a space for herself within an androcentric/queer collective at the backdrop of the European avant-garde and the rise of fascism. Christine Longford's theatre work in 1930s post-independence Ireland countervails resonances about the political economy of intellectual agency in joint writing which make manifest a complex mosaic of uncharted women's spaces, labour, and biographies.
Con el presente ensayo se analiza la figura del personaje de Creonte que aparece en casi todo el ciclo tebano de los tres grandes escritores de la Tragedia Griega, a la luz de los conceptos de poder, ...auctoritas, autoridad y democracia. La finalidad del presente trabajo es presentar, de forma descriptiva, la manera cómo los antiguos griegos manejaban magistralmente tales conceptos a través de la tragedia, los cuales siguen vigentes con pocas o ninguna matización hoy día. Palabras clave: Poder, auctoritas, autoridad, tragedia griega, democracia. This essay analyzes the figure of the Creonte character who appears in almost the whole Theban cycle of the three great writers of the Greek Tragedy, a light of the concepts of power, auctoritas, authority and democracy. In that sense, the purpose underlying the present work is to present, in a descriptive way, the way with in the Greek tragedy masterfully mastered that concepts, which exist with few or no shading today. Key words: Power, auctoritas, authority, greek tragedy, democracy.
This article re-examines the scholium on Euripides, Andromache 445, which several scholars have used to support the claim that Andromache premiered outside Athens, and concludes that both the ...scholium itself and a remark in the play's hypothesis rather suggest that the play was produced in Athens as part of a dramatic competition.
In Greek culture, the natural connection between war and fear was acknowledged since Homer. However, during the Hellenic era (507-323 BC), war began to be represented on the stage in tragedies, in ...which the connection between war and fear included the emotion of desperation. During the Persian War, in which Athens began the symbol of Greece’s freedom, the citizens experienced for the first time war-fear and the anguish over the threat of slavery. The educational task of tragedians, therefore, was twofold: on the one hand, they highlighted the heroic values in order to keep alive in the Athenians the civic duty of defending their homeland; on the other hand, they voiced the war-fear of the people, which had to endure the worst effect of the conflict. This paper will offer insight into the Greek conceptualization of war-related fear in two different historical contexts: in the aftermath of the Persian War, by analysing Aeschylus’s Seven against Thebes (467 b. C.); and during the disastrous Peloponnesian War, by analysing Euripides’s The Trojan Women (415 b. C.).
In the first part, the paper focuses on Tadashi Suzuki’s relationship with Greece and Greek tragedy, a relationship that dates back to the 1970s and extends to the present. At first, Greek tragedy ...helps Suzuki refashion the postwar Japanese identity in its clash with the colonizing West, but in the course of the decades and the historical changes that take place, the same genre becomes the means for a global artistic project of non-discrimination and solidarity. In this framework, Suzuki’s collaboration with the internationally acclaimed Greek director Theodoros Terzopoulos is crucial and invites my attention in the second part of this essay.
Abstract We can say that the Europidian Greek tragedy situated at the outset man to extreme limits, on the border where the divine begins. Any tragedy signifies and stimulates the energy of the hero ...to surpass himself through an incredible act of courage, to give a new measure of his greatness in the face of obstacles, to the unknown he meets in the world and in the society of his time. The tragedy shows us that in the very fact of human existence there is a challenge, or a paradox, it tells us that sometimes the aspirations of man come into conflict with the forces of the unexplained and destructive, which is beyond and yet very close to us. The poet and philosopher Euripides turns out to be a great humanist, he loves and sympathizes with the people, suggesting that by birth we are all equal.
This paper examines Marina Carr's Ariel as a feminist retelling of the Greek myth of the Atrides. It compares that contemporaneous play with the classical tragedies displaying that mythological story ...that Carr has used to craft the plot of Ariel, namely Aeschylus's The Oresteia, Sophocles's Electra and Euripides's Iphigenia at Aulis. This comparison underlines the subversion of Greek tragedy's political purpose in Ariel. Indeed, Carr shows the destructive power of patriarchy instead of endorsing it as a socio-political structure like Greek tragedy used to do during the 5th century B.C.E. The portrayal of women on stage is crucial regarding that matter. In Ariel, Carr approaches female characters as subjects oppressed by the patriarchal ideology fuelling the Republic of Ireland, diverting thus from the tradition of the "male gaze" displayed in Greek tragedy.
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