Towards a Poor Theatre Jerzy Grotowski. People, Places and Things Duncan Macmillan.
An Inspector Calls J. Romeo and Juliet William Shakespeare.
Blood Brothers Willy Russell. Bertolt Brecht Meg Mumford. The Seafarer Conor McPherson.
S. Douglas Olson. A collection of over of the most interesting and important fragments of Greek comedy, accompanied by a commentary; an extensive introduction discussing the history of comic genre; a series of appendixes on the individual poets, the inscriptional evidence, and. Editorial Reviews. Review. "Of the thousands of comedies composed in ancient Greece, barely a dozen survive intact. But snippets of hundreds of others are.
Rosencrantz and Guildenstern are Dead Tom Stoppard. Antigone; Oedipus the King; Electra Sophocles.
From Word To Play: The Township Plays Athol Fugard. To that end, he has grouped the fragments into the following ten lettered categories: Attic 'Old Comedy'; C. The Reception of Other Poetry; E. Politics and Politicians; F. Philosophy and Philosophers; G. Food and Dining; H. Wine and Symposia; I.
Aspects of Daily Life. The whole thing starts off with the briefest of metrical overviews and a short introduction, and concludes with four important appendices, and both a Greek and a general index. Our tour swiftly takes us into the shadowy beginnings of Greek comedy when familiar comic features, such as the chorus and the parabasis, cannot be assumed. The discussion juggles themes of West and East, old and new, mythical and topical plots, and it eventually finds its way to the better-attested world of Aristophanes and Menander.
But without privileging these familiar figures as any sort of telos, we are soon off again into the murkier topics of transmission, preservation and reception. Not surprisingly for someone who has recently undertaken the task of producing new Loeb editions of Athenaeus, O. The ten sections that make up the bulk of O's book follow a straightforward pattern. Each fragment is referenced with a letter and number according to O's system and with its PCG number; the title and date of the play, whenever known, are listed; and a minimal apparatus follows.
Here O's decision to group fragments thematically pays off with, for example, the clustering of four texts that all deal with various comic utopias in which rivers flow with wine, trees shed calamari and sausage instead of leaves, fish roast themselves, and the crockery washes up on its own after a dinner B O almost always follows the PCG in his texts, though he occasionally diverges from Kassel-Austin, as in the first fragment he prints from Cratinus' Wineflask fr.
Bertolt Brecht Meg Mumford. Oxford University Press, Harvard Studies in Comparative Literature The highlight of these pages is, to my mind, the thorough job that O. As compared with the narrower focus of, e. In rare instances I felt that O's categories might be unnecessarily limiting his commentary. O's translation of the passage is:
The text is in bad shape, but O's second emendation in particular improves the reading significantly. The speaker seems to be describing the character "Cratinus" and his recent extramarital dalliances.
O's translation of the passage is: This seems needlessly cumbersome and makes awkward sense. As with all collections of this sort, one could question some of O's choices to include or exclude certain texts. The Greek Theatre and Festivals: Oxford Studies in Ancient Documents. Pitt - - Journal of Hellenic Studies Laughter Interjections in Greek Comedy.
Stephen Kidd - - Classical Quarterly 61 2: A Companion to Greek Tragedy. A Study of Animal Choruses.
Rosen - - Journal of Hellenic Studies Statues in Greek Literature D. Princeton University Press, Mcglew - - The Classical Review 53 The Comedy of Plautus. Harvard Studies in Comparative Literature Harvard University Press London: