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Full Description
Greek and Roman epic poetry has always provided creative artists in the modern world with a rich storehouse of themes. Tim Supple and Simon Reade's 1999 stage adaptation of Ted Hughes' Tales from Ovid for the RSC heralded a new lease of life for receptions of the genre, and it now routinely provides raw material for the performance repertoire of both major cultural institutions and emergent, experimental theatre companies.
This volume represents the first systematic attempt to chart the afterlife of epic in modern performance traditions, with chapters covering not only a significant chronological span, but also ranging widely across both place and genre, analysing lyric, film, dance, and opera from Europe to Asia and the Americas. What emerges most clearly is how anxieties about the ability to write epic in the early modern world, together with the ancient precedent of Greek tragedy's reworking of epic material, explain its migration to the theatre. This move, though, was not without problems, as epic encountered the barriers imposed by neo-classicists, who sought to restrict serious theatre to a narrowly defined reality that precluded its broad sweeps across time and place. In many instances in recent years, the fact that the Homeric epics were composed orally has rendered reinvention not only legitimate, but also deeply appropriate, opening up a range of forms and traditions within which epic themes and structures may be explored. Drawing on the expertise of specialists from the fields of classical studies, English and comparative literature, modern languages, music, dance, and theatre and performance studies, as well as from practitioners within the creative industries, the volume is able to offer an unprecedented modern and dynamic study of 'epic' content and form across myriad diverse performance arenas.
Contents
Frontmatter
List of Illustrations
List of Contributors
Note on Nomenclature, Spelling, and Texts
I. DEFINING TERMS
1: Fiona Macintosh: 'Epic' Performances: From Brecht to Homer and Back
2: Barbara Graziosi: Performing Epic and Reading Homer: An Aristotelean Perspective
3: Colin Burrow: Shakespeare and Epic
4: Tim Supple: Theatre on an Epic Scale
II. CROSSING GENRES
5: Tanya Pollard: Encountering Homer through Greek Plays in Sixteenth-Century Europe
6: David Wiles: Epic Acting in Shakespeare's Hamlet
7: Marchella Ward: 'I am that same wall; the truth is so': Performing a Tale from Ovid
8: Wes Williams: Monsters and the Question of Inheritance in Early Modern French Theatre
9: Pantelis Michelakis: The Future of Epic in Cinema: Tropes of Reproduction in Ridley Scott's Prometheus
10: Georgina Paul: From Epic to Lyric: Alice Oswald's and Barbara Köhler's Refigurings of Homeric Epic
11: Arabella Stanger: Choreographing Epic: The Ocean as Epic 'Timespace' in Homer, Joyce, and Cunningham
12: Marie-Louise Crawley: Epic Bodies: Filtering the Past and Embodying the Present A Performer's Perspective
III. FORMAL REFRACTIONS
13: Margaret Kean: A Harmless Distemper: Accessing the Classical Underworld in Heywood's The Silver Age
14: Tom Sapsford: Epic Poetry into Contemporary Choreography: Two Twenty-First Century Dance Adaptations of the Odyssey
15: Robin Kirkpatrick: Voicing Virgil: Dante Performs the Latin Epic
16: Graeme Bird: Homer as Improviser?
17: Henry Power: 'Now hear this': Text and Performance in Christopher Logue's War Music (1959-2011)
18: Stephe Harrop: Unfixing Epic: Homeric Orality and Contemporary Performance
19: Emily Greenwood: Multimodal Twenty-First Century Bards: From Live Performance to Audiobook in the Homeric Adaptations of Simon Armitage and Alice Oswald
20: Emily Pillinger: Homer 'viewed from the corridor': Epic Refracted in Michael Tippett's King Priam
IV. EMPIRE AND POLITICS
21: Tatiana Faia: Institutional Receptions: Camões, Saramago, and the Contemporary Politics of The Lusíads on Stage
22: Tiphaine Karsenti: Achilles in French Tragedy (1563-1680)
23: Imogen Choi: The Spectacle of Conquest: Epic Conflicts on the Seventeenth-Century Spanish Stage
24: Frederick Naerebout: Epic on Stage in the Dutch Republic
25: Deana Rankin: 'Marpesia cautes': Voicing Amazons, England and Ireland, 1640
26: Stephen Harrison: After the Aeneid: Ascanius in Eighteenth-Century Opera
27: Patrice Rankine: Epic Performance through Invencão de Orfeu and An Iliad: Two Instantiations of Epic as Embodiment in the Americas
28: Justine McConnell: Performing Walcott, Performing Homer: Omeros on Stage and Screen
V. HIGH AND LOW
29: Claire Kenward: 'Of arms and the man': Thersites in Early Modern English Drama
30: Edith Hall: Classical Epic and the London Fairs, 1697-1734
31: Henry Stead: Classical Epic in Early Musical Theatre: The Case of Kane O'Hara's Midas
32: Fiona Macintosh: Epic Transposed: The Real and the Hyper-Real during the Revolutionary Period in France
33: Cécile Dudouyt: Sacrilegious Translation: The Epic Flop of François Ponsard's Ulysse (1852)
34: Laura Monrós-Gaspar: Epic Cassandras in Performance, 1795-1868
35: Margaret Reynolds: 'Of the rage, sing Goddess': Epic Opera
36: Rachel Bryant Davies: Fish, Firemen, and Prize Fighters: The Transformation of the Iliad and Aeneid on the London Burlesque Stage
Lorna Hardwick: Epilogue. Voices, Bodies, Silences, and Media: Heightened Receptivity in Epic in Performance
Endmatter
Bibliography
Index
