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Zusatztext This volume shows how performance history has advanced far beyond the counting of new styles of stage sets, or lists of productions...[it] provides a necessary basis for such advanced historical work to proceed. Informationen zum Autor Fiona Macintosh is Senior Research Fellow at the Archive of Performances of Greek and Roman Drama, University of Oxford.Pantelis Michelakis is Lecturer in Classics, University of Bristol, and Honorary Fellow, Archive of Performances of Greek and Roman Drama, University of Oxford.Edith Hall is Leverhulme Professor of Greek Cultural History at the University of Durham, and Co-Director of the Archive of Performances of Greek and Roman Drama, University of Oxford.Oliver Taplin is Professor of Classical Languages and Literature at the University of Oxford, and Fellow of the British Academy. Klappentext This interdisciplinary, multi-author volume is devoted to the performance reception of Aeschylus's Agamemnon, the first play in his Oresteia trilogy. The eighteen essays trace the story of the impact and influence of this seminal play, from its original performance in classical Athens, through ancient Rome and the European Renaissance until the present day. Genres discussed include film, the novel, and lyric poetry as well as theatre and opera. The volume is fully illustrated, and includes an extensive bibliography and chronological appendix. Zusammenfassung Deals with the performance reception of Aeschylus's "Agamemnon", the first play in his "Oresteia" trilogy. This volume traces the story of the impact and influence of this seminal play, since its original performance in classical Athens, through ancient Rome and the European Renaissance. Genres discussed include film, the novel, and lyric poetry. Inhaltsverzeichnis Introduction 1: Pantelis Michelakis: Agamemnons in performance I. In Search of the Sources 2: Pat Easterling: `Agamemnon' for the ancients 3: Inga-Stina Ewbank: `Striking too short at Greeks': the transmission of `Agamemnon' to the English Renaissance stage 4: Edith Hall: Clytemnestra versus her Senecan tradition 5: Susanna Phillipo: Clytemnestra's ghost: the Aeschylean legacy in Gluck's Iphigenia operas II. The Move to Modernity 6: Michael Ewans: `Agamemnon''s influence in Germany: Goethe, Schiller, and Wagner 7: Margaret Reynolds: Agamemnon: speaking the unspeakable 8: Fiona Macintosh: Viewing `Agamemnon' in 19th-century Britain 9: Yopie Prins: OTOTOTOI: Virginia Woolf and `the naked cry' of Cassandra III. The Languages of Translation 10: J. Michael Walton: Translation or transubstantiation 11: Lorna Hardwick: Staging `Agamemnon': the languages of translation 12: Massimo Fusillo: Pasolini's `Agamemnon': translation, screen version, performance 13: Oliver Taplin: The Harrison version: `so long ago that it's become a song?' IV. The International View 14: Dimitry Trubotchkin: `Agamemnon' in Russia 15: Pierre Judet de la Combe: Ariane Mnouchkine and the history of the French `Agamemnon' 16: Anton Bierl: The chorus of Aeschylus' `Agamemnon' in modern stage productions: towards the `performative turn' 17: Helene Foley: The Millennium Project: `Agamemnon' in the United States Epilogue 18: Rush Rehm: Cassandra: the prophet unveiled Appendix 19: Amanda Wrigley: `Agamemnons' on the database ...
