PERHAPS A GIFT VOUCHER FOR MUM?: MOTHER'S DAY
David Stuttard has directed his own translations and adaptations of Greek drama including Bacchae throughout the UK and in classical theatres in Turkey and Albania. He is the founder of the theatre company Actors of Dionysus and has edited Looking at Lysistrata (2010) and Looking at Medea (2014) for Bloomsbury. His other publications include Parthenon: Power and Politics on the Acropolis (2013) and A History of Ancient Greece in Fifty Lives (2014).
The essays ... [in this collection are] written in an accessible style that makes the volume useful and stimulating for a wide range of readers. Classics For All Reviews Founder of the UK-based theater company Actors of Dionysus and prolific scholar/translator/adapter of ancient Greek drama, Stuttard here offers his third title in a sequence devoted to classical Athenian plays. Following the same format as its predecessors (Looking at Medea, 2014, and Looking at Lysistrata, 2010), the collection comprises an introduction by Stuttard, brief essays (in this case 12) by leading scholars of Attic drama, and Stuttard's own translation/adaption of the play. The scholarship is up-to-date and timely in terms of theme. The essays examine performance context, earlier Dionysiac dramas, family and household in Euripides's last trilogy, staging the play, the chorus, the play's engagement of mystery cult and perverse comedy, the paradox of an ancient cult presented as new, paradoxes in the thematic matrix of the tragedy, the revenge plot, the shared characteristics of Cadmus's grandsons Bacchus and Pentheus, and the politics of famous modern adaptations of the play mounted in New York, London, Berlin, and Cape Town. Stuttard's own version of the play rounds out the volume and highlights the lyricism of the chorus. Summing Up: Recommended. Lower-division undergraduates through faculty and professionals. CHOICE Founder of the UK-based theater company Actors of Dionysus and prolific scholar/translator/adapter of ancient Greek drama, Stuttard here offers his third title in a sequence devoted to classical Athenian plays. Following the same format as its predecessors (Looking at Medea, 2014, and Looking at Lysistrata, 2010), the collection comprises an introduction by Stuttard, brief essays (in this case 12) by leading scholars of Attic drama, and Stuttard's own translation/adaption of the play. The scholarship is up-to-date and timely in terms of theme. The essays examine performance context, earlier Dionysiac dramas, family and household in Euripides's last trilogy, staging the play, the chorus, the play's engagement of mystery cult and perverse comedy, the paradox of an ancient cult presented as new, paradoxes in the thematic matrix of the tragedy, the revenge plot, the shared characteristics of Cadmus's grandsons Bacchus and Pentheus, and the politics of famous modern adaptations of the play mounted in New York, London, Berlin, and Cape Town. Stuttard's own version of the play rounds out the volume and highlights the lyricism of the chorus. Summing Up: Recommended. Lower-division undergraduates through faculty and professionals. CHOICE
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