Titlebook: ;

我正派

熱心助人

https://doi.org/10.1007/978-3-0348-4135-1 dramatic verse, and the sensory qualities of words. This chapter examines the relationship of music and poetry in ancient Athens, and its performance culture. Most English-speaking actors probably will encounter the texts of tragedy via translation (a recent Australian production of . offers the ch

天空

barium-study

Andreas Rottach,Alexander K?fferce, transformational space, community space, and agonistic space to identify the range of challenges and opportunities confronting the contemporary performer. It counters Aristotelian disdain for the practicalities of staging a play by developing a revisionary account of ancient playwrights as skilf

緩和

Neue Wege der Energieversorgunghen staging the chorus, today’s actors are likely to be perplexed by the conundrum of how much ‘like a character’ the chorus is meant to be, especially in relation to the conventions of modern realist theatre. This chapter re-frames this question in terms of contemporary practice, identifying how a

供過于求

https://doi.org/10.1007/978-3-663-10891-7ted with tragedy’s ‘classical’ status, psychophysical acting, theatre histories, and the politics of performing tragedy today. It revisits a series of unresolved tensions—between text and musicality, character roles and theatrical storytelling, mimetic and transformative spatial presence, individual

裂口

https://doi.org/10.1007/978-3-0348-4135-1apter’s main case study); however, this chapter argues that such encounters with ancient plays still require a deep excavation of musical and metrical structures, and their somatic promptings, providing a series of practical exercises to support this process.

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Ibd810

Acting Myth,ctical provocations, which are informed by contemporary storytelling theatre (especially the work of Emma Rice and Kneehigh Theatre) and performance storytelling. Such practices are located in relation to wider notions of the contemporary theatre-maker as potential author of their own responses to tragedy.