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Author: Rachel Bryant Davies
Publisher: Bloomsbury Publishing
ISBN: 1350027197
Category : History
Languages : en
Pages : 299
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Book Description
This anthology presents annotated scripts of four major burlesques by key playwrights: Melodrama Mad! or, the Siege of Troy by Thomas John Dibdin (1819); Telemachus; or, the Island of Calypso by J.R. Planché (1834); The Iliad; or, the Siege of Troy by Robert Brough (1858) and Ulysses; or the Ironclad Warriors and the Little Tug of War by F.C. Burnand (1865). Beloved legend, archaeological riddle and educational staple: Homer's epic tales of the Trojan War and its aftermath were vividly reimagined in nineteenth-century Britain. Classical burlesques-exceptionally successful theatrical entertainments-continually mined the Iliad and Odyssey to lucrative comic effect. Burlesques combined song, dance and slapstick comedy with an eclectic kaleidoscope of topical allusions. From namedropping boxing legends to recasting Shakespearean combats, epic adaptations overflow with satirical commentary on politics, cultural highlights and everyday current affairs. In uncovering Homer's irreverently playful afterlife, this selection showcases burlesque's development and wide appeal. The critical introduction analyses how these plays contested the accessibility of classical antiquity and dramatic performance. Textual and literary annotations, with contemporary illustrations, illuminate the juxtaposed sources to establish these repackaged epics as indispensable tools for unlocking nineteenth-century social, cultural and political history. Resources for further study are available online.
Author: Rachel Bryant Davies
Publisher: Bloomsbury Publishing
ISBN: 1350027197
Category : History
Languages : en
Pages : 299
Get Book Here
Book Description
This anthology presents annotated scripts of four major burlesques by key playwrights: Melodrama Mad! or, the Siege of Troy by Thomas John Dibdin (1819); Telemachus; or, the Island of Calypso by J.R. Planché (1834); The Iliad; or, the Siege of Troy by Robert Brough (1858) and Ulysses; or the Ironclad Warriors and the Little Tug of War by F.C. Burnand (1865). Beloved legend, archaeological riddle and educational staple: Homer's epic tales of the Trojan War and its aftermath were vividly reimagined in nineteenth-century Britain. Classical burlesques-exceptionally successful theatrical entertainments-continually mined the Iliad and Odyssey to lucrative comic effect. Burlesques combined song, dance and slapstick comedy with an eclectic kaleidoscope of topical allusions. From namedropping boxing legends to recasting Shakespearean combats, epic adaptations overflow with satirical commentary on politics, cultural highlights and everyday current affairs. In uncovering Homer's irreverently playful afterlife, this selection showcases burlesque's development and wide appeal. The critical introduction analyses how these plays contested the accessibility of classical antiquity and dramatic performance. Textual and literary annotations, with contemporary illustrations, illuminate the juxtaposed sources to establish these repackaged epics as indispensable tools for unlocking nineteenth-century social, cultural and political history. Resources for further study are available online.
Author: Fiona Macintosh
Publisher: Oxford University Press
ISBN: 0192526251
Category : Literary Criticism
Languages : en
Pages : 600
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Book Description
Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies. This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.
Author: Alberto Manguel
Publisher: Yale University Press
ISBN: 0300272472
Category :
Languages : en
Pages : 303
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Book Description
Author: Rachel Bryant Davies
Publisher: Bloomsbury Publishing
ISBN: 1350200360
Category : History
Languages : en
Pages : 329
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Book Description
Rachel Bryant Davies and Erin Johnson-Williams lead a cast of renowned scholars to initiate an interdisciplinary conversation about the mechanisms of power that have shaped the nineteenth-century archive, to ask: What is a nineteenth-century archive, broadly defined? This landmark collection of essays will broach critical and topical questions about how the complex discourses of power involved in constructions of the nineteenth-century archive have impacted, and continue to impact, constructions of knowledge across disciplinary boundaries, and beyond academic confines. The essays, written from a range of disciplinary perspectives, grapple with urgent problems of how to deal with potentially sensitive nineteenth-century archival items, both within academic scholarship and in present-day public-facing institutions, which often reflect erotic, colonial and imperial, racist, sexist, violent, or elitist ideologies. Each contribution grapples with these questions from a range of perspectives: Musicology, Classics, English, History, Visual Culture, and Museums and Archives. The result is far-reaching historical excavation of archival experiences.
Author: Helen Slaney
Publisher: Bloomsbury Publishing
ISBN: 1350144037
Category : Art
Languages : en
Pages : 289
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Book Description
This book argues that touch and movement played a significant role, long overlooked, in generating perceptions of ancient material culture in the late 18th century. At this time the reception of classical antiquity had been transformed. Interactions with material culture – ruins, sculpture, and artefacts – formed the core of this transformation. Some such interactions were proto-archaeological, such as the Dilettanti expeditions to Athens and Asa Minor; others were touristic, seen in the guidebooks consulted by travellers to Rome and the diaries they composed; and others creative, resulting in novels, poetry, and dance performances. Some involved the reproduction of experience in a gallery or museum setting. What all encounters with ancient material culture had in common, however, is their haptic sensory basis. The sense typically associated with the Enlightenment is vision, but this has obscured the equally important contribution made by touch and movement to the way in which a newly materialised Graeco-Roman world was perceived. Kinaesthesia, or the sense of self-movement, is rarely recognised in its own right, but because all encounters with sites and objects are embodied, and all embodiment takes place in motion, this sense is vital to forming more abstract or imaginative impressions. Theories of embodied cognition propose that all intellectual processes are also physical. This book shows how ideas about classical antiquity in the volatile milieu of the late 18th century developed as a result of diverse kinaesthetic relationships.
Author: Cristina Salcedo González
Publisher: Bloomsbury Publishing
ISBN: 1350401218
Category : History
Languages : en
Pages : 311
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Book Description
Investigating the widespread but understudied presence of the Persephone myth within 21st-century young adult literature, Cristina Salcedo González analyses six young adult novels which incorporate a reworking of this ancient Greek myth. Through the identification of mythic themes ('mythemes') and patterns within these novels, González shows that these works evoke the female life cycle and develop current perceptions of the female maturational experience. As a result, Salcedo González makes an important contribution in establishing the cultural significance of young adult literature in the world of classical reception. These novels, all written by women, also inflect or interpret the myth in ways influenced by their contemporary contexts, specifically the impact of the novels' target readership on the aspects of the myth that are either emphasised (e.g. Persephone's descent into the underworld; her existence there; and her re-ascent) or de-emphasised (e.g. the mourning and wanderings of Demeter). This book makes original methodological contributions – through its innovative dual perspective of myth criticism and classical reception – to our understanding of the academically neglected genre of young adult literature and the reception of the myth of Persephone. As a result, Salcedo González significantly contributes to establishing the cultural significance of young adult literature within the realm of classical reception.
Author: Stephen Harrison
Publisher: Oxford University Press
ISBN: 0192677586
Category : Literary Criticism
Languages : en
Pages : 311
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Book Description
The story of Cupid and Psyche is first known through the Latin novel Metamorphoses or The Golden Ass by the second-century AD writer Apuleius—one of the few Latin fictions from Roman antiquity to have survived in its entirety. Apuleius in European Literature: Cupid and Psyche since 1650 examines the reception of the long two-book romantic story of Cupid and Psyche in European literature from 1650 to the present day, with some attention also devoted to fine art and opera across this period. Stephen Harrison and Regine May argue that Cupid and Psyche had a broad and profound influence on certain important and specific areas of European culture; it was appropriated and adapted to suit particular cultural and generic contexts, especially the development of the fairy tale. This constitutes an important strand of the more general reception of the ancient novel, since the tale of Cupid and Psyche is arguably the most famous section of any fiction from Greece or Rome. Apuleius' story has enjoyed an extraordinarily rich reception throughout the five centuries from its rediscovery in the Renaissance to the present day. Previous studies of this reception have focused on the tale's prominence in Renaissance art and literature, or otherwise on its status in the German Romantic period. This book goes further and wider, ranging across literary genres in English, French, German and Dutch, encompassing poetry and drama as well as prose fiction, and covering all the key elements of the tale's reception from 1650 to the present. We hereby rediscover a tale that today remains as relevant and ripe for appropriation as ever.
Author: Sara Freeman
Publisher: University Alabama Press
ISBN: 0817371133
Category : Performing Arts
Languages : en
Pages : 268
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Book Description
Theatre History Studies (THS) is a peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference THEATRE HISTORY STUDIES, VOLUME 38 PART I: Studies in Theatre History ELIZABETH COEN Hanswurst’s Public: Defending the Comic in the Theatres of Eighteenth-Century Vienna BRIDGET MCFARLAND “This Affair of a Theatre”: The Boston Theatre Controversy and the Americanization of the Stage RYAN TVEDT From Moscow to Simferopol: How the Russian Cubo-Futurists Accessed the Provinces DANIELLA VINITSKI MOONEY So Long Ago I Can’t Remember: GAle GAtes et al. and the 1990s Immersive Theatre Part II: The Site-Based Theatre Audience Experience: Dramaturgy and Ethics —EDITED BY PENELOPE COLE AND RAND HARMON PENELOPE COLE Site-Based Theatre: The Beginning PENELOPE COLE Becoming the Mob: Mike Brookes and Mike Pearson’s Coriolan/us SEAN BARTLEY A Walk in the Park: David Levine’s Private Moment and Ethical Participation in Site-Based Performance DAVID BISAHA “I Want You to Feel Uncomfortable”: Adapting Participation in A 24-Decade History of Popular Music at San Francisco’s Curran Theatre COLLEEN RUA Navigating Neverland and Wonderland: Audience as Spect-Character GUILLERMO AVILES-RODRIGUEZ, PENELOPE COLE, RAND HARMON, AND ERIN B. MEE Ethics and Site-Based Theatre: A Curated Discussion PART III: The Robert A. Schanke Award-Winning Essay from the 1038 Mid-America Theatre Conference MICHELLE GRANSHAW Inventing the Tramp: The Early Tramp Comic on the Variety Stage
Author: Charlie Kerrigan
Publisher: Bloomsbury Publishing
ISBN: 1350151521
Category : Literary Criticism
Languages : en
Pages : 163
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Book Description
Virgil's Georgics depicts the world and its peoples in great detail, but this geographical interest has received little detailed scholarly attention. Hundreds of years later, readers in the British empire used the poem to reflect upon their travels in acts of imagination no less political than Virgil's own. Virgil's Map combines a comprehensive survey of the literary, economic, and political geography of the Georgics with a case study of its British imperial reception c. 1840–1930. Part One charts the poem's geographical interests in relation to Roman power in and beyond the Mediterranean; shifting readers' attention away from Rome, it explores how the Georgics can draw attention to alternative, non-Roman histories. Part Two examines how British travellers quoted directly from the poem to describe peoples and places across the world, at times equating the colonial subjects of European empires to the 'happy farmers' of Virgil's poem, perceived to be unaware, and in need, of the blessings of colonial rule. Drawing attention to the depoliticization of the poem in scholarly discourse, and using newly discovered archival material, this interdisciplinary work seeks to re-politicize both the poem and its history in service of a decolonizing pedagogy. Its unique dual focus allows for an extended exploration, not just of geography and empire, but of Europe's long relationship with the wider world.
Author: Peter Swallow
Publisher: Oxford University Press
ISBN: 019286856X
Category : Drama
Languages : en
Pages : 298
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Book Description
In this lively and wide-ranging study, Peter Swallow explores the reception of Aristophanes in Britain throughout the long-nineteenth century, setting it in the broader context of Victorian Classicism and, more specifically, the period's reception of Greek tragedy. Swallow shows the surprising extent to which Aristophanes was repurposed across an array of mediums in Victorian Britain, and demonstrates that Aristophanic reception in the period was always a process of speaking to contemporary issues--making Old Comedy new. The book examines two strands of Aristophanic reception: the political and the aesthetic. From the start of the long-nineteenth century, the British reception of Aristophanes tied into contemporary political debate, as historians, translators and commentators, and even the burlesque writer J.R. Planché activated Aristophanes in support of their own political positions. But each writer's conceptualisation of Aristophanes was as different as their political outlooks. While many writers who appropriated Aristophanes for their cause were Tories, a notable outlier is Percy Shelley, whose Aristophanic drama Swellfoot the Tyrant activated Old Comedy to argue for democratic republicanism--what we would now call a left-wing political revolution. The second strand of Aristophanic reception, which developed from around the middle of the nineteenth century, actively depoliticised Old Comedy and instead received it through an aesthetic lens. The aesthetics of Aristophanes--with an emphasis on the beautiful and the archaeological--also lay behind school and university productions of Old Comedy during this period. These strands of nineteenth-century Aristophanic reception find synthesis towards the book's conclusion. Edwardian women's receptions of Aristophanes show how activists used his plays to argue for equal educational opportunities and the right to vote. In the final chapter, Gilbert Murray and George Bernard Shaw's receptions reveal both the political and artistic potential of Aristophanes.
