Why should Greek tragedy matter now? This book opens a dialogue between the tragic theatre in ancient Athens and the multiple performances of the modern world. In five interconnected essays, Rush Rehm engages tragedy on its own terms, using our oldest theatre as inspiration for how we might shape the theatre of the future. 'Theatre, Artifice, Environment' explores the difference between the outdoor theatre of Athens and the artificial interiors of modern performance. 'Theatre and Fear' compares the terrors confronted in Greek tragedy with our own, seemingly distant fears (environmental destruction, dehumanising technology, corporate control of livelihood and culture). 'The Fate of Agency, the Agency of Fate' applies the paradox of human freedom in Greek tragedy to our own paradoxes of powerlessness and mastery. 'Tragedy and Ideology' treats Greek tragedy as an act of resistance, and 'Tragedy and Time' relates Greek tragedy's survival to its moment-to-moment realisation in performance. Part analysis, part polemic, Radical Theatre engages the aesthetic, political and ethical challenges of Greek tragedy as a means of confronting what tomorrow's theatre can do.
I owe special thanks to Bruce Martin and Evelyn Timberlake ( at the Library of Congress ) ; Philip Milato and Steve Crook ( at the Berg Collection ) ...
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HENRY TIMBERLAKE'S CHEROKEE WAR SONG 1. That Timberlake's memoir contains the first English translation of the words of a Native American song seems to have ...
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In The Problem with Pleasure, Frost draws upon a wide variety of materials, linking interwar amusements, such as the talkies, romance novels, the Parisian fragrance Chanel no. 5, and the exotic confection Turkish Delight, to the artistic ...
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Renew'd by ordure's sympathetic force, As oil'd with magic juices for the course, ... William Frost (1953; reprint, New York: Holt, Rinehart and Winston, ...
D'Albertis, Luigi. New Guinea: What I Did and What I Saw. 2 vols. London: S. Low, Marston, Searle & Rivington, 1881. First published 1880.
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