Download e-book for iPad: History of European Drama and Theatre by Erika Fischer-Lichte
By Erika Fischer-Lichte
This significant examine reconstructs the significant background of ecu drama from Greek tragedy via to twentieth-century theatre, concentrating on the topic of identification. all through background, drama has played and represented political, non secular, nationwide, ethnic, class-related, gendered, and person innovations of identification. Erika Fischer-Lichte's themes contain: * historical Greek theatre* Shakespeare and Elizabethan theatre by means of Corneilli, Racine, Moli?re* the Italian commedia dell'arte and its adjustments into eighteenth-century drama* the German Enlightenment - Lessing, Schiller, Goethe, and Lenz* romanticism by means of Kleist, Byron, Shelley, Hugo, de Vigny, Musset, B?chner, and Nestroy* the flip of the century - Ibsen, Strindberg, Chekhov, Stanislavski* the 20 th century - Craig, Meyerhold, Artaud, O'Neill, Pirandello, Brecht, Beckett, M?ller. a person drawn to theatre all through historical past and at the present time will locate this a useful resource of data.
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Extra resources for History of European Drama and Theatre
736), and not like a democratic leader of the polis. HAEMON: No city is the property of a single man. CREON: But custom gives possession to the ruler. HAEMON: You’d rule a desert beautifully alone. (Antigone 737–9) In burying her brother, Antigone is the only citizen of Thebes who follows the god-given commandments which form the binding foun- 18 R I T UA L T H E AT R E identity of the individual as a person – that is, before, or beyond the identity of citizen. One example of this theme is evident in the tragedy Oedipus the King, which was probably performed in 428 BC , a year after the plague had ravaged most of Athens.
Language principally serves to move others towards a specific way of acting according to the strategy developed by reason. Euripides’ figures are, thus, incomparable eloquents – ‘prattlers’asAristophaneswouldjoke–farmoreso than Sophocles’ figures. For, whilst Sophocles’ heroes carry out speech acts which are either effective as such (pleas, orders, promises, curses, oaths) or which put into words a truth acknowledged by reason, Euripides’ heroes deliberately try to influence others with their speech in a certain direction.
It is most decent / that only kin should see and hear the troubles / of kin’, 1429–31), he even disputes the right to self-exile (‘Be sure I would have done this had not I / wished first of all to learn from the God the course / of action I should follow’, 1438–9). If Oedipus is to be sent into exile, it should be solely as the result of Creon’s asking the god’s permission. In this, the end of Oedipus the King anticipates Oedipus at Colonus: through the petty power play of individuals – here Creon, later Eteocles and Polyneices – Oedipus cannot offer himself as expiatory sacrificial victim for the benefit of Thebes and he devotes his beneficent corpse to the ideal polis Athens.
History of European Drama and Theatre by Erika Fischer-Lichte