Tragedy modern Scholarship
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- Created on: 17-05-24 09:27
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- Tragedy modern scholarship
- ancient audience
- Goldhill
- “The theatre was a space in which all the citizens were actors – as the city itself and its leading citizens were put on display.”
- “It is often said that slaves definitely could attend the Dionysia
- Higgins
- The dramatization of stories from a shared heritage helped to nurture and preserve a cultural identity through times of hardship and war
- Goldhill
- performance
- Taplin
- The Chorus act as an 'emotional bridge' between the audience and the narrator,
- Cartledge
- tragedians’ exploitation of technical legal language and ideas underlines the affinity between the theatre and the courts
- Taplin
- Oedipus the King
- Garvie
- someone of high reputation and prosperity who falls into misfortune, not because he is wicked, but because of some mistake
- Oedipus is ignorant but determined to know, whereas Tiresias knows the truth but is determined to suppress it
- it is the minor characters whose behaviour is more attractive than the hero’s
- Fagles
- As so often in Sophocles, it is the minor characters whose behaviour is more attractive than the hero’s.
- Garvie
- drama as a means of worship
- Easterling
- “the plays composed for competition at the drama festivals always took their subjects from a wider range of myths than just stories about Dionysus.”
- Goldhill
- “Dionysus’ role as a god of subversion was essential to Tragedy”
- Higgins
- “To attend the theatre was a religious duty and the responsibility of all pious citizens.”
- Henrich
- “choral dancing in ancient Greek culture always constitutes a form of ritual performance.”
- Easterling
- Bacchae
- Morwood
- She is degraded by what she carries since such treatment of a human being is non-Greek in its barbarism
- Wyles
- their ecstatic joy is chilling, while heightening the pathos for the circumstances of Pentheus’ destruction
- Stuttard
- Bacchae is one of Euripides’ most disturbing plays
- Morwood
- ancient audience
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