E. Hall, S. Harrop (dir.), Theorizing Performance: Greek Drama, Cultural History, and Critical Practice

Edith Hall, Stephe Harrop (dir.), Theorizing Performance: Greek Drama, Cultural History, and Critical Practice.   London:  Duckworth, 2010.  Pp. xiii, 305.  

• ISBN 9780715638262.  
• $40.00 (pb).  
  

Recension par Eric Dodson-Robinson (University of Texas at Austin) dans Bryn Mawr Classical Review 2010.10.75.

Présentation de l'éditeur:

This exciting collection constitutes the first analysis of the modern performance of ancient Greek drama from a theoretical perspective.

The last three decades have seen a remarkable revival of the performance of ancient Greek drama; some ancient plays – Sophocles' Oedipus, Euripides' Medea – have established a distinguished place in the international performance repertoire, and attracted eminent directors including Peter Stein, Ariane Mnouchkine, Peter Sellars, and Katie Mitchell. Staging texts first written two and a half thousand years ago, for all-male, ritualised, outdoor performance in masks in front of a pagan audience, raises quite different intellectual questions from staging any other canonical drama, including Shakespeare. But the discussion of this development in modern performance has until now received scant theoretical analysis. This book provides the solution in the form of a lively interdisciplinary dialogue, inspired by a conference held at the Archive of Performances of Greek & Roman Drama (APGRD) in Oxford, between nineteen experts in Classics, Drama, Music, Cultural History and the world of professional theatre. The book will be of great interest to scholars and students of Classics and Drama alike.

Table des matières:

I. Paradigms
2. Towards a Theory of Performance Reception, Edith Hall
3. Performance as Event—Reception as Transformation, Erika Fischer-Lichte
4. Greek and Shakespearean Plays in Performance: Their Different Academic Receptions, David Wiles
5. Cultural History and Aesthetics: Why Kant is No Place to Start Reception Studies, Simon Goldhill
6. Performance, Reception, Aesthetics: Or Why Reception Studies Need Kant, Charles Martindale
7. From à la carte to Convergence: Symptoms of Interdisciplinarity in Reception Theory, Zachary Dunbar
8. Archiving Events, Performing Documents: On the Seductions and Challenges of Performance Archives, Pantelis Michelakis

II. Mind, Body, and the Tragic
9. Bringing Together Nature and Culture: On the Uses and Limits of Cognitive Science for the Study of Performance Reception, Felix Budelmann
10. Does a Deleuzean Philosophy of Radical Physicality Lead to the ‘Death of Tragedy'? Some Thoughts on the Dismissal of the Climactic Orientation of Greek Tragedy, Freddy Decreus
11. Generic Ambiguity in Modern Productions and New Versions of Greek Tragedy, Helene Foley
III. Translating Cultures
12. Revising ‘Authenticity' in Staging Ancient Mediterranean Drama, Mary-Kay Gamel
13. Towards Theorising the Place of Costume in Performance Reception, Rosie Wyles
14. Performance Reception and the ‘Textual Twist': Towards a Theory of Literary Reception, Simon Perris
15. Negotiating Translation for the Stage, Lorna Hardwick
16. From Translation to Performance Reception: The Death of the Author and the Performance Text, Eleftheria Ioannidou
IV. Practitioners and Theory
17. Acting Perspectives: The Phenomenology of Performance as a Route to Reception, Jane Montgomery Griffiths
18. Physical Performance and the Languages of Translation, Stephe Harrop
19. ‘Spatial Poetics' and Greek Drama: Scenography as Reception, Paul Monaghan
20. Translating Greek Drama for Performance, Blake Morrison