Classical Drama

This volume was created as part of the research project "Commentary on the Fragments of Greek Comedy (KomFrag)" and represents the second of a total of eleven volumes of commentary on all of Aristophanes' testimonies and fragments. The testimonies discussed in volume 10.2 of the critical edition by Kassel and Austin (PCG 3.2, pp. 1–32) are structured thematically and chronologically here and they are translated and commented according to this order. The focus of the commentary is the attempt to clarify Aristophanes' influence on later literature.

Όσο βαθαίνει η κρίση των πολιτισμών άλλο τόσο κερδίζει σε ορατότητα η μορφή της Αντιγόνης στις επιλογές των σύγχρονων καλλιτεχνών. Πρόσφατο παράδειγμα, το έργο του  Alexander Zeldin, "The Other Place",  με το οποίο καταπιάνεται εν συντομία το παρόν κείμενο.

要旨：「勧進帳」は歌舞伎の名作であり、その主人公である武蔵坊弁慶の人物像は、広範な文化的影響を及ぼしている。この論文では、「勧進帳」の人物像を「武士道」における「忠」の文化テキストとして捉え、その意味を再解釈する試みを行った。この再解釈の過程において、文化批判の一般的な手法に加えて、歴史的背景の検討と学際的な研究手法を組み合わせた。最終的な結論として、「武士道」における「忠」は、主君との「情」を基にして、主君の意志に対する実践として再解釈される。この「忠」は、合法性と道徳的価値を持ち、戦う性質を有する。また、武士はこの「忠」を実行するためには、「勇」と「智」という品質を備える必要があると示された。この研究は、「武士道」の理念を新たな視点から捉え直し、その深層的な意味を探求する意義を持つ。また、武士道における「忠」の概念が、現代社会においても引き継がれる価値があることを示唆している。
【キーワード】: 武士道，忠，勧進帳，武蔵坊弁慶，文化批評

Abstract: The Kanjinchō is a masterpiece of Kabuki, and the character image of its protagonist, Musashibō Benkei, has a wide cultural influence. This article attempts to reinterpret the meaning of the character images in Kanjinchō as the cultural text of chū in Bushidō. In this process of reinterpretation, in addition to the general approach of cultural criticism, it also combines exploration of historical background and interdisciplinary research techniques. The final conclusion is that chū in Bushidō is based on the "emotion" with the ruler and reinterpreted as the practice of the ruler's will. This kind of loyalty has legitimacy and moral value, and has a combat nature. In addition, in order to practice this loyalty, warriors need to possess qualities of bravery and intelligence. This study has the significance of recapturing the concept of Bushid ō from a new perspective and exploring its deeper significance. Meanwhile, the concept of chū in Bushidō implies that it also has inherited value in modern society.
Keywords: Bushidō, chū, Kanjinchō, Musashibō, Benkei, cultural criticism

How to Cite (Japanese): 張懿. (2025). 武士道における「忠」概念の再解読：『勧進帳』の武蔵坊弁慶を例に. タンマサート大学日本研究誌, 42(1), 1-16. https://so02.tci-thaijo.org/index.php/japanese/article/view/273901
Cite (Romanization of Japanese): Zhang Yi. (2025). Bushidō ni okeru ‘chū’ gainen no saikaidoku: "Kanjincho" no Musashibō Benkei o tari ni. Tamasart daigaku Nihon kenkyū shi, 42(1), 1-16. https://so02.tci-thaijo.org/index.php/japanese/article/view/273901
How to cite (English): Zhang, Y. (2025). A Re-interpretation of chū in Bushidō: Taking Musashibō Benkei in Kanjinchō as an Example. Thammasat Journal of Japanese Studies (TJJS), 42(1), 1-16. https://so02.tci-thaijo.org/index.php/japanese/article/view/273901

Socrates' serene attitude before his death-although this is questioned-, as described by Xenophon in his Apologia Socratis becomes for the playwright Rodolf Sirera a useful reference in an effort to reflect boldly on the limits of theatrical fiction in another clear example of the Classical Tradition, including that derived from Baroque Tragedy. However, in this case, it is judged severely to make us more conscious of the risk of turning life into a mere theatrical performance and human beings into actors and actresses in a play they did not write.

The paper is about the process of creating a theatre representation. We argue that in fact this is a manifold communication process, starting with the intrapersonal communication allowing the writer to choose what s/he believes to be the best expression of their thoughts and of their intention. Then there is an interpersonal communication between the author and the theater director. The reading of the text by the latter is supposed to give them that specific sparkle from which the image of a possible representation comes alive. If so, the director would gather a group of actors and a technical team in order to let them know what his idea was and how they could make the things happen. At this point, the process of communication combines group communication and interpersonal communication, as the director will speak to all of the team's members, but also to each and every one, trying to explain what his/her vision is and then making each actor understand how they must act to fulfill the director's expectations. In the end, the performance on stage is a public communication (a many to many communication device). The public would receive what the actors understood from what the director told them he/she had understood from the reading of author's text. In all this, the main character is the director.

Ben Jonson used a number of ‘formal choruses’ in his comedies, which he deployed to guide and chide audience opinion and reaction. Group behaviour and response are two of Jonson’s abiding interests, and consequently his plays contain even more numerous examples of informal choric groupings who watch, comment on, and judge the actions of others. This paper argues that the Collegiate ladies of Epicene are one of these informal choric groupings, and that their status and action within the play aligns them specifically to the Aristophanic chorus. I argue, however, that the ladies’ Aristophanic links are not consistent, and the comparison is one of ‘family resemblance’ rather than precise copy. Jonson’s selective approach to the Collegiates’ Aristophanic forbears offers an insight into his general approach to classical models, which served as ‘guides, not commanders’ to his own dramaturgical strategies and were effective because of their continuing relevance to the playwright’s own age.

Medicine at the University of Ulm (Germany), explores the possibilities and challenges of research at the intersection of human and empirical sciences by bringing together contributions that focus on the interaction between medicine and the humanities. Volume /, co-edited by Vincenzo Damiani and Florian Steger, is planned as a monographic issue on the subject:

Posters are a good ground for studying phenomena of visual diversity. Visual culture refers to all those elements of culture, the appearance of which is an important feature of its existence. All the more so when the purpose of the instrument being studied (poster in this regard) concerns art, that is, theater and, therefore, culture, which in the course of history is formed as a combination of human emotions, thoughts, teachings and experiences formed by social processes. It is not a matter of this article the graphic approach of the available material, but rather its semiological examination based on its subject matter, that is, the representation of the poster involved in the posters: variations of size and style, etc. In this spirit, posters are examined from the point of view of their own purpose and, above all, of their relationship with the alleged one. Thus, the purpose of the examination here is the finding and thematic classification of the posters concerning the events of the Athens & Epidaurus Festival and, in particular, those that concern the period from 1954 until today. In this context of intent, we are attempting: firstly, a concise and coherent bibliographic review of the subject poster and its relationship with society, since it has been shown up to date, secondly, linking the screening of the theatrical festivals through, thirdly, the classification, using data mining algorithms, of these posters and the exploration of the practices of promoting Greek tourism, to the extent that the study itself demonstrates the involvement in manifestations of the Greek Tourism Organization.

Αt the dawn of the twenty-first century, Greek theatre began an open discussion with each one of the components that had hitherto constituted its identity, sporadically at first, but with increasing intensity in the following years. Although this discussion was initially broad, including new as well as older theatre-makers, writers, directors, and actors, its most interesting and challenging part concerned mainly young artists. This change was brought about by a number of factors that will undoubtedly be part of future Greek Theatre Studies. A brief mention will nevertheless be made of a few factors that deserve special attention. A key reason for this change was the profound crisis within the institutions that, until recently, had provided the foundation for the identity of the Greek theatrical tradition. This problem, which dates back to the past and was not necessarily a by-product of the recent economic crisis, concerns a younger generation of artists, who felt that the question...

Dans la livraison précédente de la revue, nous avions étudié l’importance de la figure royale, indispensable pour comprendre de nombreuses situations où l’honneur se trouve impliqué. Nous entamons maintenant un autre aspect de la société: la famille, dont l’étude se révélera indispensable pour pouvoir apprécier d’autres situations où l’honneur joue un rôle très important. Ce terme de famille englobe non seulement les rapports qui se tiennent à l’intérieur du noyau familial, mais aussi et surtout ceux qui s’opèrent entre un membre de la famille et un tiers, car dans une société aussi soucieuse de la réputation que celle de l’Espagne du XVIIe siècle, l’aspect extérieur occupe une place considérable.

Sous l'impulsion de Sam Wanamaker, le théâtre du Globe est reconstruit à Londres en 1995, plusieurs siècles après sa destruction par le feu et à quelque distance de son emplacement originel. Il est aujourd'hui tout à fait au bord de la Tamise, offrant au paysage urbain contemporain un contrepoint inattendu et lumineux, du fait de la blancheur de l'enduit de sa façade. Cette première apparition contient en soi plusieurs éléments du rapport complexe de cette institution aux questions de l'authenticité et de la reconstitution. Si une grande attention a été apportée aux matériaux et aux techniques de reconstruction, la réalisation s'est affranchie des scrupules excessifs et a toléré les (parfois nécessaires) inexactitudes quand elles pouvaient mettre en valeur ce monument ressuscité. Ainsi, pour ce qui est des bâtiments, des décorations, des maquillages et des costumes, les artisans du nouveau Globe ont cherché à mener un travail approfondi de reconstitution, désigné sous le libellé : « The "Original Practices" Project 1 » ou « OP ». Les recherches et les expérimentations ont été consciencieuses pour retrouver les matériaux autant que les techniques et savoir-faire élisabéthains, et pour se les réapproprier aujourd'hui. Or, pour ce qui est du jeu d'acteur même, on peut remarquer que la scène ne prend que peu en compte les apports de la recherche sur les usages scéniques à l'époque de Shakespeare 2. Nous ne ferons pas référence ici aux questions de distribution, où le facteur politique semble légitimement prioritaire sur le travail esthétique : il serait en effet problématique d'interdire à nouveau la scène, de manière systématique, dans une institution contemporaine, aux femmes ou aux comédiens et comédiennes racisé-e-s, sous prétexte d'exactitude historique 3. Nous voulons traiter, au contraire, les savoirs ouvrant à l'acteur contemporain d'autres possibilités qui pourraient le nourrir, ainsi que les spectateurs, de la même manière que s'est révélée féconde la pensée de l'architecture, des costumes et de la musique par le détour élisabéthain. En faisant dialoguer la recherche d'universitaires et d'artistes passionnés comme Andrew Gurr, Tiffany Stern, Farah Karim-Cooper, David Crystal, Mark Rylance et Eugène Green, on peut se faire une image, certes hypothétique, comme pour tout travail de reconstitution, mais précise du jeu de l'acteur à l'époque élisabéthaine : un jeu expressif, ample et mobile, mettant l'écoute, voire la compréhension, à la portée des spectateurs de

This paper reconstructs the history of the hypothesis, first put forward by Gottfried Hermann in a study about Aeschylus’ Niobe, that Sophocles’ Niobe was a satyr drama. This opinion, supported only by a minority of scholars already in Hermann’s time, has been later definitively dispelled by papyrus discoveries of fragments and testimonia of the play. Nevertheless, reviewing this error of judgement bearing in mind the evidence available to scholars of the past is extremely interesting from a methodological point of view. Research on Sophocles’ Niobe shows a series of misunderstandings and errors (surviving partly to the present day) due above all to an approach that was not based on the play as a whole, but on the analysis of individual fragments or even single terms. The assessment of the specific case of Sophocles’ Niobe allows us to shed light on the conventions of satyr drama and on the method of attributing fragments to this theatrical genre. The re-examination of this ‘satyric thesis’ is very instructive not only from the point of view of the rules and methodology concerning fragmentary satyr dramas, but also from a more general point of view, for the history of classical studies as a whole.

मलयज इन मायनों में अपने समकालीनों और पूर्ववर्ती कवियों से अलग हैं कि उनकी कविताओं के  बिंब न तो नयी कविता से जुड़ते हैं और न ही साठोत्तरी कविता से। उनकी भाषा में जैसा एकांतिक अनुभव व्यक्त हुआ है। जैसे गूढ़ अर्थों को वे अपनी कविताओं के पाठकों के लिए चुनौती के रूप में रखते हैं। ये उन्हें अपने समकालीनों से विशिष्ट दर्जा दिलवाता है। मलयज के पास कविता को गद्य में और गद्य को काव्यमय शैली में अभिव्यक्त करने की अनुपम कला है। जिसे आप मलयज की भाषा भी कह सकते हैं। और ऐसा भी बिलकुल न समझा जाए की मलयज की कविताओं में संवेदना और अनुभव बिंब की मौजूदगी उनके समय के यथार्थ से जुदा है। ऐसा कैसे हो सकता है कि जो कवि अपने समय की तमाम गतिविधियों को न केवल अपनी डायरी और कविता में दर्ज कर रहा है अपितु उसका विश्लेषण करते हुए अपनी टिप्पणी भी दे रहा है। वह कविता में अपने समय और सत्ता के व्यवहार पर टिप्पणी न करे।

This book focuses on the influence of classical authors on Ben Jonson's dramaturgy, with particular emphasis on the Greek and Roman playwrights and satirists. It illuminates the interdependence of the aspects of Jonson's creative personality by considering how classical performance elements, including the Aristophanic 'Great Idea,' chorus, Terentian/Plautine performative strategies, and 'performative' elements from literary satire, manifest themselves in the structuring and staging of his plays. This fascinating exploration contributes to the 'performative turn' in early modern studies by reframing Jonson's classicism as essential to his dramaturgy as well as his erudition. The book is also a case study for how the early modern education system's emphasis on imitative-contaminative practices prepared its students, many of whom became professional playwrights, for writing for a theatre that had a similar emphasis on recycling and recombining performative tropes and structures.

In our examination of the selected plays and tragedy, we have focused primarily on gender politics, and more specifically on the phenomenon of female protagonists on the world stage, which is the title of this year’s essay as a part of high-school exit exam in Slovene as the mother tongue. The theme was explored through a comparative analysis of four classics of drama and theatre from antiquity to the second half of the 20th century, focusing on a selection of themes that are still of concern today: the position of women and gender equality in contemporary societies. The women dramatized in the selected plays are representatives of groups that, according to Julia Kristeva’s interpretation, are marginalised in the patriarchal symbolic order and are subjected to various forms of repression of femininity. The determination of biological sex in these plays repeatedly turns out to be socially constructed, as it is based on social norms and regulations. It is the violation of these rules that gives rise to the dramaturgical strategies and gender politics of the plays from antiquity to the present day.

V obravnavi maturitetnih dram in tragedije smo se osredotočili predvsem na politiko spolov, točneje fenomen ženskih junakinj na odru sveta, ki je tokrat naslov tematskega sklopa za maturo. Tematiko smo razprli skozi primerjalno analizo štirih klasik dramatike in gledališča od antike do druge polovice 20. stoletja s poudarkom na izbrani in še danes vznemirljivi problematiki položaja ženske in enakosti spolov v sodobnih družbah. Ženske, ki jih dramatizirajo izbrane drame, so predstavnice skupin, ki so v patriarhalnem simbolnem redu po interpretaciji Julije Kristeve marginalizirane in so izpostavljene različnim oblikam represije feminilnosti. Prav spol se skozi drame, ki smo jih raziskali, pokaže šele kot dejanje. Določenost biološkega spola se v teh igrah vedno znova izkaže kot družbeno konstruirana, saj temelji na družbenih normah in predpisih. Prav kršitve teh predpisov pa so tiste, ki sprožajo dramaturške zaplete dramatike, povezane s politiko spola, od antike do danes.

Cet article analyse la musique de La Tour de Nesle dans sa capacité à produire de l'espace (symbolique, métaphorique, scénique, extrascénique). L'identification des procédés musico-spatio-dramatiques mis en œuvre dans la pièce permet de soulever la question générique, et de déterminer en quoi ils relèvent d'un choix délibéré des auteurs, ou obéissent au contraire à un protocole scénique qui aurait fait subir au texte d'Alexandre Dumas et Frédéric Gaillardet une sorte de « mélodramatisation » forcée.

“Why should I dance?” (τί δεῖ με χορεύειν; v.896): the self-doubt aroused by the Chorus in the second stasimon of Sophocles’ Oedipus Tyrannus (5thcentury BC) is the only exceptional occurrence of threatening to abandon their own choral performance. The notion of χορεύειν, the choral dance, is correctly explained by a gloss, πανηγυρἰζειν τοῖς θεοῖς, occurring in a few manuscripts and clarifying the role of the tragic Chorus in fifth-century Athens: “to serve the gods through the medium of dance”. Thus, the Theban elders, shocked by Oedipus’ and Jocasta’s scepticism about the infallibility of oracles and worried about the unpunished responsible for the devasting plague, seem to step out of the play into contemporary Athens and say: “if men lose faith in religion, why should I serve in a Chorus, which is part of the worship of the gods?”
The metatheatrical question τί δεῖ με χορεύειν; is balanced at the end of the antistrophe by ἔρρει δὲ τὰ θεῖα (v.910): “religion is perishing”. The locution τὰ θεῖα implies the entire range of divine and human interaction, the divine order, the observance of the cult and performance of rituals. Indeed, the failure of oracles to be fulfilled and the failure of sinners to be punished are seen by the Chorus as destructive of the entire polytheistic system. Eventually, neither failure occurs: the disastrous downfall of Oedipus will show that the divine is not perishing.
This paper aims to explore the presence/absence of the gods in the Oedipus Tyrannus, by starting from the second stasimon in order to discuss a number of core issues: is there a divine involvement in the Oedipus’ downfall? If so, what is the interplay between divine and human agency? And, lastly, how does the question τί δεῖ με χορεύειν; reflect the crisis of the polis-religion of fifth-century Athens?

Se trata de una edición bilingüe español-hindi de la obra de teatro incaica “Ollantay”, una de las obras más emblemáticas de la literatura peruana al hindi, idioma hablado por más de 342 millones de personas alrededor del mudo.
Ollantay" es un drama precolombino, de tradición oral del Perú, compuesto en quechua. Representa la ideología incaica, ayudando a realizar y celebrar las victorias incas sobre los rebeldes del imperio. Es una de las obras peruanas más traducidas a otros idiomas. La obra permanece como lectura obligatoria en varias escuelas del Perú y es todavía objeto de vigoroso estudio académico.
La autoría de esta obra es un misterio. Fue traducida al español por primera vez en 1868 por José Sebastián Barranca. La primera traducción de “Ollantay” al español despertó el interés de muchos historiadores, escritores y lingüistas del mundo, quienes comenzaron a apreciar las riquezas de la cultura prehispánica más grande de Sudamérica.

In the last decades, a growing interest in the spread of theatre outside Athens put under the spotlight the notion of "reperformance", i.e. the repeatability of originally Athenian performances in non-Athenian contexts. "Reperformance" is now a buzzword of Classical studies, but the analysis of the revivals of 5th century BC tragedies in the pre-Alexandrian age is still in progress and scholars sometimes tend to oversimplify the issues at stake. This is particularly true in the case of tragic reperformances in the demes. The dissemination of tragedy in this context is considered crucial to the understanding of another important phenomenon: the competence of Athenian audiences. According to a widely accepted theory, the poetic dialogue of comic playwrights with tragic texts implies that (1) the public had a good knowledge of tragedies first staged many decades before their parodies and that (2) this knowledge was enhanced by the revivals of Aeschylus', Sophocl...

Il volume contiene il testo delle relazioni presentate al Convegno Internazionale di Firenze, svoltosi nei giorni 14-15 giugno 2012: sono 15 saggi originali, scritti – su invito – da autorevoli studiosi di varie università italiane e straniere, sugli importanti contributi che i ritrovamenti papiracei hanno portato, nel corso di oltre un secolo, per la conoscenza delle opere perdute di Eschilo e di Sofocle, nonché sul valore dei papiri per la costituzione del testo delle loro tragedie conservate. I saggi sono equamente suddivisi su Eschilo e su Sofocle, e toccano tutte le maggiori questioni che lo studio della papirologia ha sollevato per la ricerca filologica e letteraria sui due grandi tragici. Sia per il prestigio degli autori, sia per la varietà dei temi affrontati, il volume propone un quadro interessante ed autorevole sullo ‘stato dell’arte’ degli studi in proposito, alla luce delle interrelazioni tra papirologia e letteratura greca.

La fin de la Renaissance, l'âge baroque et l'âge classique sont des époques de l'imitation. Pour la tragédie, le modèle sénéquien est essentiel, et l'ouvrage de Florence de Caigny, Sénèque le Tragique en France (XVI e-XVII e siècles), nous offre enfin la synthèse attendue. Que les oeuvres du dramaturge romain aient été traduites intégralement à trois reprises au XVII e siècle et donné lieu à trente-trois imitations différentes pendant la période étudiée suffit à suggérer l'ampleur de leur réception.

La fin de la Renaissance, l'âge baroque et l'âge classique sont des époques de l'imitation. Pour la tragédie, le modèle sénéquien est essentiel, et l'ouvrage de Florence de Caigny, Sénèque le Tragique en France (XVI e-XVII e siècles), nous offre enfin la synthèse attendue. Que les oeuvres du dramaturge romain aient été traduites intégralement à trois reprises au XVII e siècle et donné lieu à trente-trois imitations différentes pendant la période étudiée suffit à suggérer l'ampleur de leur réception.

This book investigates how Shakespeare uses and adapts images of dreams and sleep to shape his dramatic worlds. By examining comedies, tragedies, histories, and late plays, it reveals how Shakespeare deploys early modern understandings of dreams – rooted in  medicine, philosophy, religion, folklore, and politics – to redefine dramatic conventions and experiment with innovative plot structures.
The book explores the rich cultural context of dreams and sleep in early modern England, examining how Shakespeare and his contemporaries creatively adapted these concepts from classical drama, medieval dream visions, and native English theatrical traditions.

Key Features:
* Offers fresh insights into Shakespeare's innovative use of dreams and sleep in his dramatic works.
* Explores the cultural and historical significance of dreams and sleep in early modern England.
* Analyses how Shakespeare reshaped dramatic conventions and experimented with plot structures.
* Appeals to a wide audience, including academics, students, teachers, and general readers interested in Shakespeare and his world.

Keywords: Shakespeare, dreams, sleep, drama, theater, early modern England, literary history, cultural history, genre, comedy, tragedy, history plays, late plays, romances, classical drama, medieval literature, English theatre.

Esquisse d'une typologie de la mise en scène des classiques On ne peut être metteur en scène que sur des classiques. Roger Planchon1 Une double vérification Tel qu'il s'est progressivement imposé à partir de la fin du XIXe siècle, l'art de la mise en scène entretient avec les textes dits « classiques » une relation ambiguë, sinon conflictuelle : y participent à la fois la conviction d'accomplir bien souvent à leur égard un indispensable travail d'anamnèse, nourri d'une large enquête documentaire, sous-tendu par une visée interprétative exigeante, et la défiance envers la plupart des usages sociaux de ces textes-au premier chef, leur utilisation dans l'enseignement. Ajoutons à ces deux sentiments contradictoires la sollicitation pressante du système théâtral (programmateurs, public, critiques, tutelles), telle qu'elle s'exprime depuis les années 1950 environ, pour que soient montés toujours plus de classiques, ainsi que la mauvaise conscience de déserter en retour la relation avec les auteurs vivants, et l'on commencera d'entrevoir pourquoi la décision, en apparence anodine, de mettre en scène telle tragédie de Racine ou telle comédie de Molière s'accompagne dans la pratique de tant de commentaires érudits, de distinguos subtils, de truismes sonores et de provocations faciles. Érigé en classique, c'est-à-dire en modèle, c'est-à-dire en marqueur des appren¬ tissages de la langue et de la culture nationales, le texte théâtral n'approche plus la scène sans être soumis aux procédures d'une double vérification : vérification, par le public, de sa propre compétence à comprendre et apprécier l'oeuvre ; vérification, par la mise en scène, de la capacité de l'oeuvre à manifester sa pertinence et son efficacité en dépit de son ancienneté relative. Il faudrait une enquête historique et 1 Roger Planchon, propos reproduits dans « Lecture des classiques. Entretiens avec

M.A in English language and literature, From Islamic university of science and technology. Abstract This Paper has an emphasis on addressing the inquiry that why Dr. Faustus obviously having everlasting status in his brain as a significant objective for himself toward the start of the play, didn't ask Lucifer for interminably while he was making the agreement. The point is to see the philosophical lines of thought during Marlowe's time that may have had an impact alongside a mental perusing of the motivation behind why the character probably won't have needed interminably in real life. The key philosophical figures of the time being Thomas Aquinas, Henry of Ghent and Duns Scotus we see a specific religious root in way of thinking of the time. This considered alongside the way that Faustus was known as the specialist godliness one can arrive at the resolution that the understanding of death in this play must be a philosophical one with its underlying foundations in Christianity. Additionally adopting into account the strategy of a cutting edge peruser towards the content and to isolate ourselves from the Christian viewpoint this paper has likewise considered the advanced philosophical methodologies towards everlasting status through works of Jaspers and Heidegger. To have the option to see the thought process of this need for Faustus we take a gander at Nietzsche and his meaning of Master-Slave relationship and profound quality the subject of which is by all accounts fairly predominant in this play.

Esquisse d'une typologie de la mise en scène des classiques », Littératures classiques, n° 48 (Actes du colloque Jeux et enjeux des théâtres classiques (XIX e -XX e siècles), Université de Paris IV, 2-3 mars 2001), Toulouse, printemps 2003 (pp. 243-253).

Local community participation in the revival of ancient theatres as venues in Greece shaped the dynamics of the cultural reception of inter-war performances at Delphi and Epidaurus. Here I analyse local involvement within and beyond the theatrical context of the Delphic Festivals, as well as the long-standing identification of the village of Ligourio with the theatre of Epidaurus. These relationships reflect distinctive dimensions of the clash between community-led and institutional archaeology, which dominated national discourse on authenticity and identity. At the same time, the prospects of economic development through tourism in such remote areas encouraged local receptiveness to the revival of ancient theatres.

Abstract: Victorian writer Anthony Trollope was a communing Anglican and his family’s connection to the system of ecclesiastical patronage within the Church of England gave him the material he needed to critique what he viewed as corruption. For some Trollopian scholars, Trollope’s criticism of the Church was muted at best. So much so that contemporary scholarship on Anthony Trollope’s The Warden focused largely on Trollope’s “moral casuistry” and “divided mind” in the 1970s and 1980s. A decade later, a more thorough inquiry into the relationship between Trollope’s ecclesiastical connections and its effect on his choice of mode as a Victorian writer was undertaken by Jill Durey. This essay serves as a defense of classifying Anthony Trollope’s The Warden as a satiric novel. The author shows how Trollope’s own connections to the system of ecclesiastical patronage in the Church of England influenced his choice of mode in The Warden and the writer concludes that Trollope’s novel contains enough features to be classified as satire.

This is the outcome of the abstracts of the homonymous scientific day conference realized with the support of OPANDA, on the occasion of the World Dance Day 2018, in collaboration with the unique in its kind Study Group of Ancient Orchesis of the “Dora Stratou” Theatre and the International Dance Council (Athens Section).

"Seven against Thebes: The visualized ‘other’ and the possibilities of his scenic actualization", in: 15th International Symposium of Ancient Greek Drama: The Civil Conflicts in the Ancient Drama, Centre of the International Theatre Institute,Nicosia, 2020, p. 51-70.

On the traces of a rich literary former tradition, the last play of Aeschylus’ “Theban tetralogy” culminates the anthropological and political impasse of Labdacides’ generation, with Oedipus’ two brothers and sons killing each other in battle. The still standing restricted number of two actors obliges eventually Aeschylus to focus on Eteocles and to develop his own version of the mythical story exclusively from the side of Thebes’ royal oikos and polis. In a different manner than later Euripides’ Phoenician Women and Sophocles’ late Oedipus at Colonus, Aeschylean Polynices remains continuously an off-stage attacking enemy, a visualized “other”, the spatial proximity and the moral/political distance of whom helps escalating Eteocles’ tragic dilemma, which ends up with his fatal final decision to fight against his brother. Only in the (original) exodos of the tragedy, the corpses of the two brothers will be displayed together in public view, henceforward being united under the common fate of death and the common lament of the Chorus. The visual vacuum created by the –physically absent– dramatic pole of Polynices has been reproduced in most modern performances of Seven against Thebes. Nevertheless, we shall focus on two specific performances of the Aeschylean tragedy in modern Greek (one produced by the Theatrical Organization of Cyprus in 2001, directed by Varnavas Kyriazis, and one produced by the National Theatre of Northern Greece in 2016), directed by  Cezaris Grauzinis) and their original way of visual and dramatic incorporation of Polynices into the scenic text. Our paper will end with the assumption  if even in the first performance of Seven against Thebes in 467 BC, Aeschylus (technically restricted by the two-actors convention) had already  resorted to complementary performative means in order to  reinforce the visual/aesthetic potential of his scenic text, as Athenaeus’testimony about the ‘dancer’ or ‘performer’ Telestes 1, 21f-22a) let us imagine.

Though the principles of the tragedy were first laid by Aristotle, they did not remain the same as the pens of Renaissance tragedians moved. The Greek model of tragedy has incorporated in itself some modifications over time, particularly in Renaissance, as it is possible to figure many startling differences between both. Nevertheless, there are some similarities which both models have in common. In spite of the presence of many tragedians on the literary road of Greek and Renaissance, the focus here will be on Sophocles and Christopher Marlowe and their works Oedipus Rex and Dr. Faustus.

This paper consists of three case studies regarding the stage topography of Aeschylus’ Seven against Thebes. These case studies revolve around the following questions: (i) whether the Theban acropolis on which the play is set would require the use of an elevated structure such as a raised stage; (ii) how the characters’ entrances and exits are semiotised, and whether a semiotically active skēnē can be extrapolated from the script; and (iii) what indications are provided by the script on the arrangement of the gods’ statues in the acting area. With regard to (i), it is argued that the hypothesis of a raised stage is not warranted by the text of Septem. With regard to (ii), the paper attempts to reconstruct the play’s imaginary topography, especially in relation to the semiotic function of the parodoi, and argues that Septem requires no theatrically functional skēnē. Finally, with regard to (iii), the paper advocates a circular arrangement of the gods’ statues around the periphery of the orchestra. Discussion of these case studies is informed throughout by an awareness of the methodological problems and limitations associated with any attempt to reconstruct the visual aspect of early Greek theatre; these are brief ly surveyed in an introductory section. The paper also offers tentative suggestions for control mechanisms which may mitigate the effect of the aforementioned methodological limitations.