What made Greek tragedy 'Greek'? Tragic theatre is often seen primarily as a cultural product of one city: Athens. By contrast, this volume argues that it was a panhellenic phenomenon, born out of travel in the fifth century BC, in which audiences, poets, actors, and the heroes they played were continually on the move across the Greek world.
What made Greek tragedy 'Greek'? Tragic theatre is often seen primarily as a cultural product of one city: Athens. By contrast, this volume argues that it was a panhellenic phenomenon, born out of travel in the fifth century BC, in which audiences, poets, actors, and the heroes they played were continually on the move across the Greek world.
Edmund Stewart is Teaching Fellow in Greek Literature and Culture at the University of Warwick, having previously taught Classical Languages and Literature at the universities of Nottingham and Leeds. His research interests focus on the dissemination of Greek tragedy, Greek poetry, and ancient professionalism and he is currently working on an edited volume on the ancient labour market in Greece and Rome.
Inhaltsangabe
* Frontmatter * List of Tables * List of Abbreviations * 0: Introduction * The Problem * 1. Recent Approaches * a. Athens and tragedy * b. Tragedy beyond Athens * 2. New Directions * a. Panhellenic tragedy * b. Panhellenic networks * c. Professionalism and travel * 3. The Argument * 1: The Background I. Travelling Heroes and Panhellenic Tragedy * Introduction * 1. The Travelling Hero in Greek Poetry * 2. Panhellenic Tragedy * Conclusion * 2: The Background II. Wandering Poets, Panhellenic Networks, and Professionalism * 1. Introduction: Mobility in Archaic and Classical Greece * a. The culture of travel in ancient Greece * b. Professionalism and travel * 2. Networks of Non-Dramatic Poets c. 700-300 BC * a. Aegean and Asia Minor * b. The Greek mainland * c. The Greek West * 3. Reasons and Motivations for the Travel of Poets * a. Exiles and economic migrants * b. The pursuit of fame * c. The pursuit of wealth * Conclusion * 3: Tragedy in Attica c. 500-300 BC * Introduction * 1. The Audience * 2. Non-Athenian Performers * a. Origins * b. Impact * Conclusion * 4: Tragedy outside Attica c. 500-450 BC * Introduction * 1. Dramatic Performances outside Attica * a. The Greek mainland * b. The Greek West * 2. The Plays * a. Aeschylus' Aetnaeae * b. Aeschylus' Persians and its trilogy * Conclusion * 5: Tragedy outside Attica c. 450-400 BC * Introduction * 1. Euripides' Archelaus, Temenus, and Temenidae * a. The myth and its purpose * b. Possibilities for performance * 2. Euripides' Andromache * 3. Euripides' Captive Melanippe and Aeolus * a. The myth and the plays * b. Possibilities for performance * Conclusion * 6: Tragedy outside Attica c. 400-300 BC * Introduction * 1. A New Era? * a. The death of political tragedy? * b. Specialization and professionalization: the rise of the acting profession? * c. Old tragedy or new tragedy? * d. Conclusion * 2. The Dissemination of Tragedy in the Fourth Century * a. Performance venues * b. Performers * Conclusion * 7: Conclusion * Appendices * 1. The Settings of Plays of Greek Tragedy and Satyr Play * 2. Non-Citizen Performers in Attica * 3. Phrynichus in Sicily? * Endmatter * Bibliography * Index
* Frontmatter * List of Tables * List of Abbreviations * 0: Introduction * The Problem * 1. Recent Approaches * a. Athens and tragedy * b. Tragedy beyond Athens * 2. New Directions * a. Panhellenic tragedy * b. Panhellenic networks * c. Professionalism and travel * 3. The Argument * 1: The Background I. Travelling Heroes and Panhellenic Tragedy * Introduction * 1. The Travelling Hero in Greek Poetry * 2. Panhellenic Tragedy * Conclusion * 2: The Background II. Wandering Poets, Panhellenic Networks, and Professionalism * 1. Introduction: Mobility in Archaic and Classical Greece * a. The culture of travel in ancient Greece * b. Professionalism and travel * 2. Networks of Non-Dramatic Poets c. 700-300 BC * a. Aegean and Asia Minor * b. The Greek mainland * c. The Greek West * 3. Reasons and Motivations for the Travel of Poets * a. Exiles and economic migrants * b. The pursuit of fame * c. The pursuit of wealth * Conclusion * 3: Tragedy in Attica c. 500-300 BC * Introduction * 1. The Audience * 2. Non-Athenian Performers * a. Origins * b. Impact * Conclusion * 4: Tragedy outside Attica c. 500-450 BC * Introduction * 1. Dramatic Performances outside Attica * a. The Greek mainland * b. The Greek West * 2. The Plays * a. Aeschylus' Aetnaeae * b. Aeschylus' Persians and its trilogy * Conclusion * 5: Tragedy outside Attica c. 450-400 BC * Introduction * 1. Euripides' Archelaus, Temenus, and Temenidae * a. The myth and its purpose * b. Possibilities for performance * 2. Euripides' Andromache * 3. Euripides' Captive Melanippe and Aeolus * a. The myth and the plays * b. Possibilities for performance * Conclusion * 6: Tragedy outside Attica c. 400-300 BC * Introduction * 1. A New Era? * a. The death of political tragedy? * b. Specialization and professionalization: the rise of the acting profession? * c. Old tragedy or new tragedy? * d. Conclusion * 2. The Dissemination of Tragedy in the Fourth Century * a. Performance venues * b. Performers * Conclusion * 7: Conclusion * Appendices * 1. The Settings of Plays of Greek Tragedy and Satyr Play * 2. Non-Citizen Performers in Attica * 3. Phrynichus in Sicily? * Endmatter * Bibliography * Index
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