The Oxford Handbook of Greek Drama in the Americas.pdf

The Oxford Handbook of Greek Drama in the Americas.pdf


The Oxford Handbook of Greek Drama in the Americas is the first edited collection to discuss the performance of Greek drama across the continents and archipelagos of the Americas from the beginning of the nineteenth century to the present. The study and interpretation of the classics have never been restricted by geographical or linguistic boundaries but, in the case of the Americas, long colonial histories have often imposed such boundaries arbitrarily. This volume tracks networks across continents and oceans and uncovers the ways in which the shared histories and practices in the performance arts in the Americas have routinely defied national boundaries. With contributions from classicists, Latin American specialists, theatre and performance theorists, and historians, the Handbook also includes interviews with key writers, including Nobel Laureate Derek Walcott, Charles Mee, and Anne Carson, and leading theatre directors such as Peter Sellars, Carey Perloff, Hector Daniel-Levy, and Heron Coelho. This richly illustrated volume seeks to define the complex contours of the reception of Greek drama in the Americas, and to articulate how these different engagements - at local, national, or trans-continental levels, as well as across borders - have been distinct both from each other, and from those of Europe and Asia.

Patrice Rankine is Dean for the Arts and Humanities and Professor of Classics at Hope College.

List of Illustrations ; List of Contributors ; Note on Nomenclature, Spelling, and Texts ; PART I: THEORIES AND METHODS ; 1. Introduction ; 2. An Archival Interrogation ; 3. New Worlds, Old Dreams? Postcolonial Theory and Reception of Greek Drama ; 4. Grecian Theater in Philadelphia, 1800-1870 ; 5. Thebes in the New World: Revisiting the New York Antigone of 1845 ; 6. Julia Ward Howe's Hippolytus ; 7. Professional Tragedy: The Case of Medea in Chicago, 1867 ; 8. Barbarian Queens: Race, Violence, and Antiquity on the Nineteenth-Century American Stage ; 9. When Greeks Stand You Up, Invite Romans: The Ancient World on the Nineteenth-Century American Stage ; PART III: MODERNISMS IN THE AMERICAS (1900-1930) ; 10. The Migrant Muse: Greek Drama as Feminist Window on American Identity, 1900-1925 ; 11. Iphigenia Amongst the Ivies, 1915 ; 12. Treading the Arduous Road to Eleusis, Nationalism and Feminism in Early Post-World War I Canada: Roy Mitchell's 1920 The Trojan Women ; 13. Greek Theater in Modern Dance: An Alternative Archaeology ; 14. Eugene O'Neill's Quest for Greek Tragedy ; PART IV: THE LIVING PASTS (1925-1970) ; 15. Choreographing the Classics, Performing Sexual Dissidence ; 16. Greek Drama in Mexico ; 17. Moving and Dramatic Athenian Citizenship: Edith Hamilton's Americanization of Greek Tragedy ; 18. A New Stage of Laughter for Zora Neale Hurston and Theodore Brown: Lysistrata and the Negro Units of the Federal Theatre Project ; 19. Aristophanic Comedy in American Musical Theater, 1925-1969 ; 20. Cubanizing Greek Drama: Jose Triana's Medea in the Mirror, 1960 ; PART V: CREATIVE COLLISIONS (1948-1968) ; 21. Revolutionizing Greek Tragedy in Cuba: Virgilio Pinera's Electra Garrigo, 1948 ; 22. Alfredo Dias Gomes' O Pagador de promessas and Antigone's Dilemma ; 23. The Darkening of Medea: Geographies of Race, (Dis)Placement and Identity in Agostinho Olavo's Alem do Rio (Medea) ; 24. The Frontiers of David Cureses' La frontera ; 25. Brothers at War: Aeschylus in Cuba 1968 and 2007 ; PART VI: THE SEARCH FOR THE OMNI-AMERICAS (1970S-2013) ; 26. Metaphor and Modernity: American Themes in Herakles and Dionysus in '69 ; 27. Lee Breuer's New American Classicism: The Gospel at Colonus's Integration Statement ; 28. Afrocentrism or Assimilation: The Case of Rita Dove's The Darker Face of the Earth ; 29. The Power of Medea's Sisterhood: America(ns) on the Margins in Cherrie Moraga's The Hungry Woman: A Mexican Medea ; 30. August Wilson and Greek Drama: Blackface Minstrelsy, 'Spectacle' from Aristotle's Poetics, and Radio Golf ; 31. 'Aeschylus Got Flow!': Afrosporic Greek Tragedy and Will Power's The Seven ; 32. Visibility Strategies: Multiple Antigones on the Colombian Twenty-First Century Stage ; 33. Democratic Appropriations: Lysistrata and Political Activism ; 34. Reclaiming Euripides in Harlem ; 35. Oedipus Tyrannus in South America ; 36. Greek Drama on the West Coast, 1970-2013 ; 37. Performing for Soldiers: Twenty-First Century Experiments in Greek Theater in the U.S. ; 38. Greek Tragedy in Canada: Women's Voices and Minority Views ; PART VII: PRACTIONER PERSPECTIVES ; 39. Countee Cullen's Medea: Daniel Banks on Adaptation and Change ; 40. This Bird That Never Settles: A Virtual Conversation with Anne Carson about Greek Tragedy ; 41. An Interview with Heron Coelho ; 42. An Interview with Hector Levy-Daniel ; 43. Charles Mee's '(Re)Making' of Greek Drama ; 44. An Interview with Peter Meineck ; 45. An Interview with Carey Perloff ; 46. Eclectic Encounters: Staging Greek Tragedy in America, 1973 - 2009 ; 47. The Shock of Recognition: Nicholas Rudall's Translation of Greek Drama for the Chicago Stage at Court Theatre ; 48. In Conversation with Peter Sellars: 'What Does Greek Tragedy Mean to You?' ; 49. Women and War ; 50. Dionysus in 69 in 2009 ; 51. Talking Greeks with Derek Walcott ; AFTERWORD ; 52. Audiences Across the Pond: Oceans Apart or Shared Experiences?


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