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Presents a landmark study combining key specialists around the region with well-established international scholars, from a wide range of disciplines.
This is the first study of ancient theatre and performance around the coasts of the Black Sea. It brings together key specialists around the region with well-established international scholars on theatre and the Black Sea, from a wide range of disciplines, especially archaeology, drama and history. In that way the wealth of material found around these great coasts is brought together with the best methodology in all fields of study. This landmark book broadens the whole concept and range of theatre outside Athens. It shows ways in which the colonial world of the Black Sea may be compared importantly with Southern Italy and Sicily in terms of theatre and performance. At the same time, it shows too how the Black Sea world itself can be better understood through a focus on the development of theatre and performance there, both among Greeks and among their local neighbours.
This is the first integrated study of Greek religion and cults of the Black Sea region, centred upon the Bosporan Kingdom of its northern shores, but with connections and consequences for Greece and much of the Mediterranean world. David Braund explains the cohesive function of key goddesses (Aphrodite Ourania, Artemis Ephesia, Taurian Parthenos, Isis) as it develops from archaic colonization through Athenian imperialism, the Hellenistic world and the Roman Empire in the East down to the Byzantine era. There is a wealth of new and unfamiliar data on all these deities, with multiple consequences for other areas and cults, such as Diana at Aricia, Orthia in Sparta, Argos' irrigation from Egypt, Athens' Aphrodite Ourania and Artemis Tauropolos and more. Greek religion is shown as key to the internal workings of the Bosporan Kingdom, its sense of its landscape and origins and its shifting relationships with the rest of its world.
This book presents a cultural history of the Greek tragedy and its influence on subsequent Greek and Roman art and literature.
Age-old scholarly dogma holds that the death of serious theatre went hand-in-hand with the 'death' of the city-state and that the fourth century BC ushered in an era of theatrical mediocrity offering shallow entertainment to a depoliticised citizenry. The traditional view of fourth-century culture is encouraged and sustained by the absence of dramatic texts in anything more than fragments. Until recently, little attention was paid to an enormous array of non-literary evidence attesting, not only the sustained vibrancy of theatrical culture, but a huge expansion of theatre throughout (and even beyond) the Greek world. Epigraphic, historiographic, iconographic and archaeological evidence indicates that the fourth century BC was an age of exponential growth in theatre. It saw: the construction of permanent stone theatres across and beyond the Mediterranean world; the addition of theatrical events to existing festivals; the creation of entirely new contexts for drama; and vast investment, both public and private, in all areas of what was rapidly becoming a major 'industry'. This is the first book to explore all the evidence for fourth century ancient theatre: its architecture, drama, dissemination, staging, reception, politics, social impact, finance and memorialisation.
Papers drawn from an interdisciplinary colloquium, hosted at Somerville, College by the University of Oxford's Archive of Performances of Greek and Roman Drama in August 1998.
This volume brings together archeologists, art historians, philologists, literary scholars, political scientists, and historians to articulate the ways in which western Greek theater was distinct from that of the Greek mainland and, at the same time, to investigate how the two traditions interacted. The chapters intersect and build on each other in their pursuit of a number of shared questions and themes: the place of theater in the cultural life of Sicilian and South Italian 'colonial cities;' theater as a method of cultural self-identification; shared mythological themes in performance texts and theatrical vase-painting; and the reflection and analysis of Sicilian and South Italian theater in the work of Athenian philosophers and playwrights. Together, the essays explore central problems in the study of western Greek theater. By gathering a number of different perspectives and methods, this volume offers the first wide-ranging examination of this hitherto neglected history.
Contributions to this volume, covering all shores of the Black Sea, draw on a mix of archaeological evidence, epigraphy and written sources to explore the activities and characteristics of those that inhabited or colonised the Black Sea area, as well as those that visited, acted in, or influenced the region, from the archaic to Roman periods.
Explores the origins and development of ancient drama, especially comedy, on Sicily and its relationship to the political situation.
Love and loyalty, hatred and revenge, fear, deprivation, and political ambition: these are the motives which thrust the characters portrayed in these three Sophoclean masterpieces on to their collision course with catastrophe. Recognized in his own day as perhaps the greatest of the Greek tragedians, Sophocles' reputation has remained undimmed for two and a half thousand years. His greatest innovation in the tragic medium was his development of a central tragic figure, faced with a test of will and character, risking obloquy and death rather than compromise his or her principles: it is striking that Antigone and Electra both have a woman as their intransigent 'hero'. Antigone dies rather neglect her duty to her family, Oedipus' determination to save his city results in the horrific discovery that he has committed both incest and parricide, and Electra's unremitting anger at her mother and her lover keeps her in servitude and despair. These vivid translations combine elegance and modernity, and are remarkable for their lucidity and accuracy. Their sonorous diction, economy, and sensitivity to the varied metres and modes of the original musical delivery make them equally suitable for reading or theatrical peformance. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.