Staging Ancient Greek Plays

Preface Notation Dates Spelling Introduction: Adaptation and Interpretation Chapter One: The Original Conditions of Performance 1.1 The Festivals of Dionysos 1.2 Performance Practice 1.3 The Playing Space 1.3.1 Theatron and Orchestra 1.3.2 The Skene 1.4 Staging Conventions 1.5 Costumes and Masks 1.6 Actors 1.7 The Choros 1.8 ‘Realistic’ or ‘Stylized’? Chapter Two: Values, Myth and the Individual, the Gods and Moira 2.1 Greek and Modern Values 2.2 Myth and the Individual 2.3 The Gods and Daimones 2.4 Moira 2.5 Comedy 2.6 Modern Performance Chapter Three: Performing Greek Drama on the Modern Stage 3.1 Translation 3.1.1 Introduction 3.1.2 Desiderata 3.1.3 Comedy 3.2 Setting, Costumes and Masks 3.2.1 ‘Ancient’ or Modern? 3.2.2 Desiderata 3.3 Speech and Song 3.4 Acting 3.4.1 Tragedy 3.4.1.2 Solo Speech 3.4.1.3 Dialogue and Three-actor Scenes 3.4.1.4 Props 3.4.1.5 Conclusion 3.4.2 Comedy 3.4.2.1 The In-Law in The Women’s Festival 3.4.2.2 A lazzo in Frogs 3.4.2.3 Props 3.4.2.4 Conclusion 3.5 The Choros 3.5.1 Introduction 3.5.2 Tragedy 3.5.2.1 A Choral Ode 3.5.2.2 A Lyric Scene 3.5.2.3 A Lyric/dialogue Scene 3.5.2.4 Conclusion 3.5.3 Comedy 3.5.3.1 A Choros Divided 3.5.3.2 The Parabasis 2.5.3.3 Conclusion 3.6 Performing Greek Drama on an End-on Stage 3.6.1 Comedy: Peace (2009) 3.6.2 Tragedy: Medea (2021) 3.6.3 Conclusion 3.7 Adieu Glossary of Greek words Recommended reading Works cited Appendix 1: Synopses of the Extant Tragedies and Comedies Appendix 2: Some Audio-Visual Resources Index