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Autor: Grafiati
Data publikacji: 26 lipca 2024

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Sprawdź 36 najlepszych książek naukowych na temat „Theater of Dionysius”.

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1

Ghiron-Bistagne, Paulette. Gigaku: Dionysies nippones, ou, Les avatars de Dionysos sur les routes de la soie. Montpellier: Groupe interdisciplinaire du théâtre antique, Université Paul Valéry, 1994.

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2

Gogos, Savas. To archaio theatro tou Dionysou: Architektonikē morphē kai leitourgia. Athēna: Milētos Ekdoseis, 2005.

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3

Wetmore, Kevin J. Black Dionysus: Greek tragedy and African American theatre. Jefferson, NC: McFarland & Co., 2002.

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4

Wetmore, Kevin J. Black Dionysus: Greek tragedy and African American theatre. Jefferson, N.C: McFarland & Co., 2003.

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5

Lada-Richards, Ismene. Initiating Dionysus: Ritual and theatre in Aristophanes' Frogs. Oxford [England]: Clarendon Press, 1999.

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6

Verdeil, Jean. Dionysos au quotidien: Essai d'anthropologie théâtrale. Lyon: Presses universitaires de Lyon, 1998.

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7

Osofisan, Femi. Black Dionysos: Conversations with Femi Osofisan. Ibadan, Oyo State, Nigeria: Kraft Books Limited, 2013.

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8

Hentschel, Ingrid. Dionysos kann nicht sterben: Theater in der Gegenwart. Berlin: Lit, 2007.

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9

Wise, Jennifer. Dionysus writes: The invention of theatre in ancient Greece. Ithaca, NY: Cornell University Press, 1998.

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10

Jannini, Ernesto. Dionysus' Place: Tra arte e teatro dagli anni Settanta agli anni Duemila. Milano: Postmedia, 2021.

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11

Pappas, Theodōros G. Theatrikes parastaseis stēn archaia Kerkyra: Hidrysē tōn Dionysiōn, IGIX 1 694. Athēna: Institouto tou Vivliou, 1996.

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12

Sewell, Richard C. In the theatre of Dionysos: Democracy and tragedy in ancient Athens. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2007.

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13

Bierl, Anton F. Harald. Dionysos und die griechischeTragödie: Politische und "metatheatralische" Aspekte im Text. Tübingen: G. Narr, 1991.

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14

Bierl, Anton. Dionysos und die griechische Tragödie: Politische und "metatheatralische" Aspekte im Text. Tübingen: G. Narr, 1991.

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15

Tozzi, Giulia. Decreti dal santuario di Dioniso Eleutereo ad Atene. Pisa: Fabrizio Serra editore, 2021.

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16

1959-, Hall Edith, Macintosh Fiona 1959- i Wrigley Amanda, red. Dionysus since 69: Greek tragedy at the dawn of the third millennium. Oxford: Oxford University Press, 2004.

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17

Chōremē-Spetsierē, Alkēstis. Acropolis: Ancient and Roman Agora, Pnyx, Philopappus Hill, Hadrian's Library, Theatre of Dionysus, Odeion of Herodes Atticus, Acropolis Museum. Ahtens: Militos, 2010.

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18

Massenzio, Marcello. Dioniso e il teatro di Atene: Interpretazioni e prospettive critiche. Roma: NIS, 1995.

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19

J, Winkler John, i Zeitlin Froma I, red. Nothing to do with Dionysos?: Athenian drama in its social context. Princeton, N.J: Princeton University Press, 1990.

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20

Scullion, John Scott. Three studies in Athenian dramaturgy. Stuttgart: G.B. Teubner, 1994.

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21

Fischer-Lichte, Erika. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0012.

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The book concludes with an epilogue entitled ‘The Return of Dionysus. From Festive Performances to Global Spectacle’. It very briefly retraces the exchange of productions of Greek tragedies between Germany and other countries and ends with the role played by productions of Greek tragedies today, at German as well as international theatre festivals, thus linking them back to the most important festival in ancient Athens, the Great Dionysia. After explaining how such festivals in Germany reassert the central position held by theatre in German culture, the epilogue ends with a short discussion of Jan Fabre’s twenty-four-hour performance Mount Olympus—to Glorify the Cult of Tragedy (Berliner Festspiele, June 2015) as an allegory of and a reflection on Greek tragedy’s endurance on the German stage.
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22

The Dionysus group. New York: P. Lang, 1991.

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23

Pickard-Cambridge, Arthur Wallace. Theatre of Dionysus in Athens. Creative Media Partners, LLC, 2021.

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24

Theatre of Dionysus in Athens. Creative Media Partners, LLC, 2021.

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25

Stewart, Edmund. Tragedy in Attica c.500–300 BC. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.003.0004.

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Chapter 3 examines Athenian festival culture in the fifth and fourth centuries. It is argued that the process of tragedy’s dissemination began not with the ‘export’ of plays out of Athens, but even at the very moment of their first performance in the theatre of Dionysus. Athens attracted a wide range of visitors to its festivals, who could be both performers and spectators. Here we examine the evidence for the activities of ninety non-citizen musicians, poets, and actors and the contribution they made to the Dionysia and other festivals. We shall see that Athens is best understood as a major Panhellenic centre within a broader network of other Greek cities and sanctuaries.
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26

Wise, Jennifer. Dionysus Writes: The Invention of Theatre in Ancient Greece. Cornell University Press, 2019.

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27

Wise, Jennifer. Dionysus Writes: The Invention of Theatre in Ancient Greece. Cornell University Press, 2000.

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28

Boyce, Kristin. Philosophy, Theater, and Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190467876.003.0007.

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In the tenth book of Plato’s The Republic, Socrates famously invokes an ancient quarrel between philosophy and tragedy (among other art forms). In the Symposium, he shows philosophy triumphing over tragedy when Socrates bests Agathon, a tragic poet who has just taken first place at the Festival of Dionysus, in a competition for the best speech in praise of love. This chapter argues that Hedda Gabler represents an important further stage in this ongoing quarrel, one that takes the fight to philosophy’s home turf: that of soul-transforming conversation. In plays such as A Doll’s House, Ibsen develops a form of theater that takes on the Socratic aspiration to facilitate serious conversation. Hedda Gabler, though, goes even further. In this play Ibsen develops a form of theater that not only takes over the Socratic aspiration, but at the same time transforms it by transforming our understanding of what such conversation might consist in.
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29

Fusini, Letizia. Dionysus on the Other Shore: Gao Xingjian's Theatre of the Tragic. BRILL, 2020.

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30

Sewell, Richard. In the Theatre of Dionysos: Democracy and Tragedy in Ancient Athens. McFarland & Company, 2007.

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31

Fischer-Lichte, Erika. Wagner’s Gesamtkunstwerk and Nietzsche’s Vision of Ancient Greek Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0005.

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Chapter 3 deals with ‘Wagner’s Gesamtkunstwerk and Nietzsche’s Vision of Ancient Greek Theatre’ with regard to the emergence of a new image of ancient Greece that would rival the Winckelmannian image from that point on. Wagner’s Gesamtkunstwerk is described as an attempt not to return to ancient Greece but to revive ancient Greek theatre by taking into account the conditions of the modern world, as Nietzsche similarly interpreted it in his treatise The Birth of Tragedy out of the Spirit of Music (1872). The truly revolutionary aspects of the image of Greece as developed in this treatise are examined. While Winckelmann only considered the Apollonian side of Greek culture and art, Nietzsche complemented it by focusing on its Dionysian side, thus opening up an absolutely novel approach to Greek tragedy for the future.
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32

McKenna, Falko. Politics of Ecstasy: Representing Dionysus in 69 - Cultural Performativity in Avant-Garde Theatre and Political Discourse. Transcript Verlag, 2020.

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33

Historia kai ideologia sta katoptra tou Dionysou: Dokimia gia to Neoellēniko Theatro, 1920-1950. Athēna: Ekdoseis Papazēsē, 2016.

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34

Winkler, John J., i Froma I. Zeitlin. Nothing to Do with Dionysos?: Athenian Drama in Its Social Context. Princeton University Press, 2020.

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35

(Editor), John J. Winkler, i Froma I. Zeitlin (Editor), red. Nothing to Do With Dionysos: Athenian Drama in Its Social Context. Princeton Univ Pr, 1992.

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36

Jackson, Lucy C. M. M. The Chorus of Drama in the Fourth Century BCE. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198844532.001.0001.

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The Chorus of Drama in the Fourth Century BCE seeks to upend conventional thinking about the development of drama from the fifth to the fourth centuries. Set in the context of a theatre industry extending far beyond the confines of the City Dionysia and the city of Athens, the identity of choral performers and the significance of their contribution to the shape and meaning of drama in the later Classical period (c.400–323) as a whole is an intriguing and under-explored area of enquiry. Drawing together the fourth-century historical, material, dramatic, literary, and philosophical sources that attest to the activity and quality of dramatic choruses, the book provides a new way of talking and thinking about the choruses of drama after the deaths of Euripides and Sophocles. Having considered the positive evidence for dramatic choral activity, the book provides a radical rethinking of two oft-cited yet ill-understood phenomena that have traditionally supported the idea that the chorus of drama ‘declined’ in the fourth century: the inscription of χοροῦ μέλος‎ in papyri and manuscripts in place of fully written-out choral odes, and Aristotle’s invocation of embolima (Poetics 1456a25–32). The book goes on to explore how influential fourth-century authors such as Plato, Demosthenes, and Xenophon, as well as artistic representations of choruses on fourth-century monuments, have had an important role in shaping later scholars’ understanding of the dramatic chorus throughout the Classical period. The book’s conclusions, too, have implications for the broader story we wish to tell about Attic drama, and its most enigmatic and fundamental element, the chorus.
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