Agamemnon in Performance 458 BC to AD 2004 by Fiona Macintosh

Agamemnon in Performance 458 BC to AD 2004

EditorFiona Macintosh, Pantelis Michelakis, Edith Hall

Hardcover | February 9, 2006

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Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon. In performance, translation, adaptation, along with sung and danced interpretations, it has been familiar in the Greek world and the Roman empire, and from theRenaissance to the contemporary stage. It has been central to the aesthetic and intellectual avant-garde as well as to radical politics of all complexions and to feminist thinking. Contributors to this interdisciplinary collection of eighteen essays on its performance history include classicalscholars, theatre historians, and experts in English and comparative literature. All Greek and Latin has been translated; the book is generously illustrated, and supplemented with the useful research aid of a chronological appendix of performances.

About The Author

Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama, University of Oxford. Pantelis Michelakis is Lecturer in Classics, University of Bristol, and Honorary Fellow, Archive of Performances of Greek and Roman Drama, University of Oxford. Edith Hall is Leverhulme Professor of Greek Cultural H...
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Title:Agamemnon in Performance 458 BC to AD 2004Format:HardcoverDimensions:504 pages, 9.21 × 6.14 × 1.23 inPublished:February 9, 2006Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199263515

ISBN - 13:9780199263516

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Table of Contents

Introduction1. Pantelis Michelakis: Agamemnons in performanceI. In Search of the Sources2. Pat Easterling: `Agamemnon' for the ancients3. Inga-Stina Ewbank: `Striking too short at Greeks': the transmission of `Agamemnon' to the English Renaissance stage4. Edith Hall: Clytemnestra versus her Senecan tradition5. Susanna Phillipo: Clytemnestra's ghost: the Aeschylean legacy in Gluck's Iphigenia operasII. The Move to Modernity6. Michael Ewans: `Agamemnon''s influence in Germany: Goethe, Schiller, and Wagner7. Margaret Reynolds: Agamemnon: speaking the unspeakable8. Fiona Macintosh: Viewing `Agamemnon' in 19th-century Britain9. Yopie Prins: OTOTOTOI: Virginia Woolf and `the naked cry' of CassandraIII. The Languages of Translation10. J. Michael Walton: Translation or transubstantiation11. Lorna Hardwick: Staging `Agamemnon': the languages of translation12. Massimo Fusillo: Pasolini's `Agamemnon': translation, screen version, performance13. Oliver Taplin: The Harrison version: `so long ago that it's become a song?'IV. The International View14. Dimitry Trubotchkin: `Agamemnon' in Russia15. Pierre Judet de la Combe: Ariane Mnouchkine and the history of the French `Agamemnon'16. Anton Bierl: The chorus of Aeschylus' `Agamemnon' in modern stage productions: towards the `performative turn'17. Helene Foley: The Millennium Project: `Agamemnon' in the United StatesEpilogue18. Rush Rehm: Cassandra: the prophet unveiledAppendix19. Amanda Wrigley: `Agamemnons' on the database