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Racine’s play Phèdre—which draws on Euripides’ tragedy Hippolytus—is the supreme achievement of French neoclassic theater. In her amusing foreword, Margaret Rawlings explains how this particular translation—made specifically from the actor’s point-of-view—evolved from the 1957 Campbell Allen production. Containing both the French and English texts on facing pages, as well as Racine’s own preface and notes on his contemporary and classical references, this edition of Phèdre is a favorite among modern readers and is of special value to students, amateur companies, and repertory theaters alike. Translated and with a foreword by Margaret Rawlings.
This introductory study presents Phèdre as an example of the culmination of French classical tragedy--taking into consideration the play's historical, literary and theatrical context, its relationship to other tragedies of Racine, and its influence on later European literature.
This introductory study presents Phèdre as an example of the culmination of French classical tragedy--taking into consideration the play's historical, literary and theatrical context, its relationship to other tragedies of Racine, and its influence on later European literature.
The 'greatest hits' of French classical theatre, in vivid and acclaimed new Penguin translations by John Edmunds and with editorial apparatus by Joseph Harris. The plays in this volume - Cinna, The Misanthrope, Andromache and Phaedra - span only thirty-seven years, but make up the defining period of French theatre. In Corneille's Cinna (1640), absolute power is explored in ancient Rome, while Molière's The Misanthrope (1666), the only comedy in this collection, sees its anti-hero outcast for his refusal to conform to social conventions. Here also are two key plays by Racine: Andromache (1667), recounting the tragedy of Hector's widow after the Trojan War, and Phaedre (1677), showing a mother crossing the bounds of love with her son. This translation of Phaedra was originally broadcast on Radio Three with a cast including Prunella Scales and Timothy West, and was praised by playwright Harold Pinter. This is the first time it has been published. The edition also includes an introduction by Joseph Harris, genealogical tables, pronunciation guides, critiques and prefaces, as well as a chronology and suggested further reading. After a varied career as an actor, teacher, and BBC TV national newsreader, John Edmunds became the founder-director of Aberystwyth University's department of Theatre, Film and Television Studies. Joseph Harris is Senior Lecturer at Royal Holloway, University of London and author of Hidden Agendas: Cross-Dressing in Seventeenth-Century France (2005).
"Amy Wygant reads Racine's ""Phedre"" (1677) through an analysis of its 17th-century cultural contexts and a consideration of its subsequent reception history. She explores the construction of Racinian language as ""musical"", the poetics of the Racinian gaze, and Racine's labyrinthine eros of memory and forgetting. Reference is made to Lully's operas, the battle between the advocates of colour and the champions of drawing in the Royal Academy of Painting and Sculpture, and Le Notre's centreless garden labyrinth at Versailles. These close textual and contextual studies relate the detail of the tragedy to the conceptual sweep of 17th-century absolutism. Wygant's interdisciplinary study draws on the music history, as well as on emblematics, the history of the formal garden and the arts of memory. Racine's great threnody, the ""recit de Theramene"", is shown as representative of expressions of loss which lie at the root of early modern literature."
False information, passionate love, and grim tragedy form the core of this time-honored classic by one of France's greatest playwrights. Based on Euripides' Hippolytus.
Are we free agents? This perennial question is addressed by tragedy when it dramatizes the struggle of individuals with supernatural forces, or maps the inner conflict of a mind divided against itself. The first part of this book follows the adaptations of four myths as they migrate from classical Greek tragedy to Seneca and on to seventeenth-century France: the stories of Agamemnon, Oedipus, Medea, and Phaedra. Detailed linguistic analysis charts the playwrights’ contrasting assumptions about agency and autonomy. In the second part, six plays by Corneille and Racine are discussed to show how the problem of agency and free will is explored in scenarios which show protagonists who are in thrall to their past, to their rulers, or to their own ideals.