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2018
"""Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC. Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap." Chapter 1: After the Fifth Century: (Dis)continuities in Greek tragedy Chapter 2: Theatre Performance after the Fifth Century Chapter 3: Beyond Athens: The Dissemination of Greek Tragedy from the Fourth Century Onwards Chapter 4: Music and Dance in the Greek Tragic Theatre after the Fifth Century Chapter 5: Fourth-century Tragedy: The Fragments Chapter 6: Rhesus Chapter 7: Hellenistic Tragedy and Satyr Drama Chapter 8: Biblical Tragedy: The Exagoge of Ezekiel Chapter 9: Society, Ethics, and Intellectual Trends in Greek Tragedy after the Fifth Century Chapter 10: Attitudes towards Tragedy from the Second Sophistic to Late Antiquity Chapter 11: Scholars and Scholarship on Tragedy""
2014 •
Gnomon 91.7: 588–596
Review of: V. Vahtikari, Tragedy Performances Outside Athens in the Late Fifth and the Fourth Centuries BC. (Helsinki 2014).2019 •
In our effort to understand tragedy as a kind of cultural creation in such range, we should go back to the initial time of its conception, creation and formatting stage as entity during the 5th century in Athens. In our approach, we find that the historical reality, which means the objective events that some people might have heard through mythological stories or their literary versions that once occurred in the distant past, converted in the haze of history into legend and then molded through the passage of time in myth (Trojan war, argonautica). These, in turn, formed the thematic framework of which the cases of works written quite later than the leading Greek tragedians raised, after being converted from mythological tales into dramatic representations and formatted on stage by actors, addressed to viewers. In this way tragedy addresses the legend rather than the original magical-religious significance, but its later signification of space and time of literature, which turns it into a dynamic semiotic system of symbols and meanings that constitute a literary text (JP Vernant-P. Vidal-Naquet 1981). Because, as we know, the beginnings of theatrical expression are lost in the depth of prehistory and are linked to the myth, which refers to cosmic entities and formulates social situations, which attach value that exceeds the fragmentation of the phenomena (Roudhardt 1977: 315). This is a causal reason for the consciousness of primitive (Frye 1988), communication system with the environment, similar to the psyche (Eliade 1963: 174). But the understanding of the world is not enough. Creative intervention is required as well in it, with an incentive or deterrent effect that will ensure the survival and guarantee the continuity of life. This is done through a magical and religious ritual, which is based on purely "theatrical" situations and recommends the theater starting point. It features the distinction between the action space from the monitoring area for action (stage / square), actors (actresses) and participants (audience), theatrical disguise, movement and improvisation, preparation for the "role" and "acting ". Bearing these data in mind, it appears that the right conditions to develop the drama had been created. What remains is dialogue to be added, which did not exist in this original category of primitive events and homeopathic relationship between actors / participants turn into illusory relationship betwen actors / spectators, resulting in a mutation of the original "ecstasy" into "catharsis".
2023 •
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