Search results for ""Author Euripides""

Euripides' romantic melodrama of the reunion in Tauris of Iphigenia with the brother she thought was dead abounds in situations of danger and of touching reminiscence. Plays for Performance Series.

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Agamemnon's sacrifice of his daughter in order to ensure the good fortune of his forces in the Trojan War is, despite its heroic background, in many respects a domestic tragedy. Plays for Performance Series.

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Las tres obras de EURÍPIDES incluidas en este volumen ?traducidas, prologadas y anotadas por Juan Miguel Labiano? son sumamente singulares dentro de la obra del dramaturgo ateniense. Así, EL CÍCLOPE es la única muestra de drama satírico que ha llegado hasta nosotros. IÓN, perteneciente a la última etapa creativa del autor, con sus innegables elementos humorísticos puede considerarse el prototipo de la comedia en el sentido moderno de la palabra. Por último, las dudas que envuelven la verdadera autoría de RESO, tragedia de tema troyano, no le restan un ápice de interés ni de calidad como obra dramática. El presente volumen completa la publicación en esta colección de las obras euripideas conservadas íntegramente.

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Through their sheer range, daring innovation, flawed but eloquent characters and intriguing plots, the plays of Euripides have shocked and stimulated audiences since the fifth century BC. Phoenician Women portrays the rival sons of King Oedipus and their mother's doomed attempts at reconciliation, while Orestes shows a son ravaged with guilt after the vengeful murder of his mother. In the Bacchae, a king mistreats a newcomer to his land, little knowing that he is the god Dionysus disguised as a mortal, while in Iphigenia at Aulis, the Greek leaders take the horrific decision to sacrifice a princess to gain favour from the gods in their mission to Troy. Finally, the Rhesus depicts a world of espionage between the warring Greek and Trojan camps.

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El setè volum de les Tragèdies d?Eurípides presenta dues de les tragèdies més sorprenents del dramaturg atenès. En l?Hèlena Eurípides capgira el mite tradicional sobre la figura d?Hèlena per parlar sobre la relació entre veritat, mentida i aparença, un tema molt present en les discussions filosòfiques de l?Atenes clàssica. L?Ió, en canvi, aprofundeix en la qüestió de la identitat a través de la figura d?aquest fill d?Apollo i Creüsa ?descendent de la línia reial atenesa per via materna? que desconeix els seus orígens. Eurípides ho aprofita per qüestionar un dels mites fundacionals atenencs, el de l?autoctonia, que marca el dret de ciutadania a la ciutat d?Atenes. Les tragèdies es presenten amb una acurada edició i traducció en vers de l?hellenista Jaume Almirall, que també ha redactat les notícies preliminars.

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Junto con Esquilo y Sófocles, los otros dos grandes trágicos de la Grecia clásica, Eurípides (484-407 a.C.) contribuyó a elevar el género teatral hasta las más altas cimas de la perfección estética y a plantear los conflictos morales más permanentes y profundos de la condición humana. De las noventa y dos piezas atribuidas a su genio, sólo diecinueve han llegado hasta nosotros. Las tres tragedias agrupadas en este volumen ??Alcestis?, ?Medea?, ?Hipólito?- cuentan entre las más significativas y reputadas de su obra.Traducción e introducción Antonio Guzmán Guerra

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Euripides' romantic melodrama of the reunion in Tauris of Iphigenia with the brother she thought was dead abounds in situations of danger and of touching reminiscence. In Mr. Rudall's new translation it becomes beautifully playable.

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There''s no decent way to say an indecent thingAn industrial port of a war-torn city. Women survivors wait to be shipped abroad. Officials come and go. A grandmother, once queen, watches as her remaining family are taken from her one by one. The city burns around them. First performed in 415BC, the play focuses on the human cost of war and the impact of loss.This new Student Edition of The Women of Troy includes a commentary and notes by Emma Cole, which looks at the Trojan War as represented in Greek literature and myth; the context in which Euripides was writing and within which the play was first performed; how it would have been originally staged and dramaturgical challenges met; as well as recent performance history of the play, including Katie Mitchell''s iconic 2007 production at the National Theatre. Euripides'' great anti-war play is published here in Don Taylor''s classic translation.

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Three of the most famous tragedies from Ancient Greece, all featuring female protagonists - in modern, much-performed translations. This volume, in the Nick Hern Books Drama Classic Collections series, contains: Antigone by Sophocles, translated by Marianne McDonald. The first great 'resistance' drama, and perhaps the definitive Greek tragedy. Bacchae by Euripides, translated by Kenneth McLeish and Frederic Raphael. The story of revenge by the half-man half-god Dionysos on Pentheus, King of Thebes, and all his people. Medea by Euripides, translated by Kenneth McLeish and Frederic Raphael. The powerful myth of Medea, who murders her children as revenge for her husband's infidelity.

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Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae, the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig’s annotated translation of Aeschylus' Seven Against Thebes, Euripides' Suppliants, and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays—those dealing with the war between Oedipus’ sons, its casualties, and survivors.

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Three plays by ancient Greece’s third great tragedian.One of antiquity's greatest poets, Euripides has been prized in every age for the pathos, terror, and intellectual probing of his dramatic creations. The new Loeb Classical Library edition of his plays is in six volumes.Three plays are in Volume IV. Trojan Women concerns the tragic unpredictability of life; Iphigenia among the Taurians and Ion exhibit tragic themes and situations but end happily with joyful reunions.

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Treating ancient plays as living drama. Classical Greek drama is brought vividly to life in this series of new translations. Students are encouraged to engage with the text through detailed commentaries,including suggestions for discussion and analysis. In addition, numerous practical questions stimulate ideas on staging and encourage students to explore the play's dramatic qualities. Medea is suitable for students of both Classical Civilisation and Drama. Useful features include full synopsis of the play, commentary alongside translation for easy reference and a comprehensive introduction to the Greek Theatre. Medea is aimed primarily at A-level and undergraduate students in the UK, and college students in North America.

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Medea/Hecabe/Electra/HeraclesFour devastating Greek tragedies showing the powerful brought down by betrayal, jealousy, guilt and hatredThe first playwright to depict suffering without reference to the gods, Euripides made his characters speak in human terms and face the consequences of their actions. In Medea, a woman rejected by her lover takes hideous revenge by murdering the children they both love, and Hecabe depicts the former queen of Troy, driven mad by the prospect of her daughter's sacrifice to Achilles. Electra portrays a young woman planning to avenge the brutal death of her father at the hands of her mother, while in Heracles the hero seeks vengeance against the evil king who has caused bloodshed in his family.Translated with an Introduction by PHILIP VELLACOTT

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[Woodruff's translation] is clear, fluent, and vigorous, well thought out, readable and forceful. The rhythms are right, ever-present but not too insistent or obvious. It can be spoken instead of read and so is viable as an acting version; and it keeps the lines of the plot well focused. The Introduction offers a good survey of critical approaches. The notes at the foot of the page are suitably brief and nonintrusive and give basic information for the non-specialist. --Charles Segal, Harvard University

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This stunning translation, by the acclaimed poet Robin Robertson (Forward Prize, Man Booker shortlist 2018), has reinvigorated Euripides' devastating take of a god's revenge for contemporary readers, bringing the ancient verse to fervid, brutal life.Dionysus, god of wine and ecstasy, has come to Thebes, and the women are streaming out of the city to worship him on the mountain, drinking and dancing in wild frenzy. The king, Pentheus, denouces this so-called 'god' as a charlatan. But no mortal can deny a god and no man can ever stand against Dionysus.'The dialogue is taut, volcanic and often exquisitely beautiful... Euripides deserves to have his exquisite verse transformed into modern speech, and in Robertson I believe he has found a poet who can do that.' Edith Hall, Literary Review

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Though now associated mainly with Sophocles' Theban Plays and Euripides' Bacchae, the theme of Thebes and its royalty was a favorite of ancient Greek poets, one explored in a now lost epic cycle, as well as several other surviving tragedies. With a rich Introduction that sets three of these plays within the larger contexts of Theban legend and of Greek tragedy in performance, Cecelia Eaton Luschnig’s annotated translation of Aeschylus' Seven Against Thebes, Euripides' Suppliants, and Euripides' Phoenician Women offers a brilliant constellation of less familiar Theban plays—those dealing with the war between Oedipus’ sons, its casualties, and survivors.

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'She's chucked out like an old coat that nae langer fits him…' Medea and Jason, clinging together as refugees in Corinth, have struggled to bring up their beloved offspring in this alien and unsympathetic society. Now Jason has a plan to better integrate himself. Unfortunately, this involves abandoning his wife, the mother of his children… Spurned, destitute, desperate, Medea exacts her terrible retribution. Liz Lochhead's Scots-inflected version of Euripides' classic revenge tragedy was first performed by Theatre Babel in 2000 and won the Saltire Society Scottish Book of the Year Award. It was revived by the National Theatre of Scotland as part of the 2022 Edinburgh International Festival, with Adura Onashile as Medea, directed by Michael Boyd.

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If there's a God, which at the moment I DOUBT, I want you to curse him. If there's any justice, I want them - both of them - in a car crash. Her husband's gone and her future isn't bright. Imprisoned in her marital home, Medea can't work, can't sleep and increasingly can't cope. While her child plays, she plots her revenge. This startlingly modern version of Euripides' classic tragedy explores the private fury bubbling under public behaviour and how in today's world a mother, fuelled by anger at her husband's infidelity, might be driven to commit the worst possible crime. The production is written and directed by one of the UK's most exciting and in-demand writers, Mike Bartlett, who has received critical acclaim for his plays including Earthquakes in London; Cock (Olivier Award), a new stage version of Chariots of Fire, and Love Love Love. This programme text coincides with a run at the Headlong Theatre in London from the 27th of September to the 1st of December 2012.

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I am Iphigenia, daughter of the daughter of Tyndareus My father killed me Few contemporary poets elicit such powerful responses from readers and critics as Anne Carson. The New York Times Book Review calls her work "personal, necessary, and important," while Publishers Weekly says she is "nothing less than brilliant." Her poetry - enigmatic yet approachable, deeply personal yet universal in scope, wildly mutable yet always recognizable as her distinct voice - invests contemporary concerns with the epic resonance and power of the Greek classics that she has studied, taught, and translated for decades. Iphigenia among the Taurians is the latest in Carson's series of translations of the plays of Euripides. Originally published as part of the third edition of Chicago's Complete Greek Tragedies, it is published here as a stand-alone volume for the first time. In Carson's stunning translation, Euripides's play - full of mistaken identities, dangerous misunderstandings, and unexpected interventions by gods and men - is as fierce and fresh as any contemporary drama. Carson has accomplished one of the rarest feats of translation: maintaining fidelity to a writer's words even as she inflects them with her own unique poetic voice. Destined to become the standard translation of the play, Iphigenia among the Taurians is a remarkable accomplishment, and an unforgettable work of poetic drama.

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?Poochigian's translation is a triumph?a remarkably lucid and vibrant rendition . . . The script's language is precise yet sonorous, expertly constructed in iambic pentameter to both moving and chilling effect.? --Aram Kouyoumdjian, Asbarez ?By far the most theatrically assured rendition of the play I've encountered. The fluid translation by Aaron Poochigian is as mercurial as the staging.? --Charles McNulty, The Los Angeles Times

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Though it wasn't successful at its first performance, in the centuries since then, Euripides's Medea has established itself as one of the most powerful and influential of the Greek tragedies. The story of the wronged wife who avenges herself upon her unfaithful husband by murdering their children is lodged securely in the popular imagination, a touchstone for politics, law, and psychoanalysis and the subject of constant retellings and reinterpretations. This new translation of Medea by classicist Oliver Taplin, originally published as part of the acclaimed third edition of Chicago's Complete Greek Tragedies, brilliantly replicates the musicality and strength of Euripides's verse while retaining the play's dramatic and emotional power. Medea was made to be performed in front of large audiences by the light of the Mediterranean sun, and Taplin infuses his translation with a poetry, color, and movement suitable to that setting. By highlighting the contrasts between the spoken dialogues and the sung choral passages, Taplin has created an edition of Medea that is particularly suited to performance, while not losing any of the power it has long held as an object of reading or study. This edition is poised to become the new standard, and to introduce a new generation of readers to the moving heights of Greek tragedy.

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