VOLUME VII #1 AUTUMN 2011

Title Here

Translating is something which all of us from classics backgrounds have had to do, if only to convince an instructor that we understand the structure of a Greek or Latin sentence. Translating for the stage is another matter entirely. In a classroom, one can translate Medea's olola (704) as 'I am in a state of having been utterly destroyed.' No actor would be caught dead saying it.The features in this issue represent a selection of words which actors have said and audiences have heard, and of approaches to translation when performance is the goal. In some cases, translation flows into adaptation, and beyond; the Brazilian Os Sete Contra Tebas described in Ricardo Montenegro's piece is a translation of spirit, not words. The principle which unites these very different scripts and productions is that of playability, an awareness that the words have to work on the stage. [ Read more ]...

Staging Greek Drama
Kathryn Bosher

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Vestibulum a tortor vitae massa feugiat aliquam. Ut id tortor sapien. Etiam ultricies, sapien at iaculis rutrum, urna urna vestibulum arcu, sed iaculis nisi metus a turpis. Cras velit nisi, congue in porta at, imperdiet scelerisque lorem. In tortor dolor, venenatis eget congue eu, interdum vel magna. Nulla facilisi. Sed a libero sed dui volutpat viverra hendrerit vitae dui. [ Read More ]...

Can you hear me now? Implications of the New Research in Greek Theatrical Masks
Amy R. Cohen

Cross-Cultural Connections, Confluences and Contradictions in Masked Performance
Margaret Coldiron

Mask, Word, Body and Metaphysics in the Performance of Greek Tragedy
Paul Monaghan

Three Electras and the Multivalent Mask
Chris Vervain

The Acoustical Mask of Greek Tragedy
Thanos Vovolis and Georgios Zamboulakis

The Word and the Take: Writing for the Mask
J. Michael Walton

DIDASKALIA SUPPLEMENT 1

How is it Played? Genre, Performance and Meaning

Proceedings of the conference at Texas A&M

TABLE OF CONTENTS

PUBLISHER'S NOTE by Sallie Goetsch

INTRODUCTION by Elise Garrison, Texas A&M

'The Performance, the Genre, and the Director' by Wulf Koepke, Texas A&M

'Recreating the Playwright's Images: Directing Athol Fugard's *'MASTER HAROLD'....and the boys*' by Roger Schultz, Texas A&M

'Stage Performance in the Age of Virtual Reality: Part One (1)' by Judith de Luce, Miami University

'Stage Performance in the age of Virtual Reality: Part II' by Lee Horvitz, Miami University

'The Actor as Literary Critic' by Jay Malarcher, Louisiana State University

'The Male Actor of Greek Tragedy: Evidence of Misogyny or Gender-Bending?' by Nancy Rabinowitz, Hamilton College

'Did Women Sing in the *Thesmophoriazusae*?' by Philip Ambrose, University of Vermont

'Flesh or Fish or What?-- Euripides' *Orestes*' by Victor Castellani, University of Denver

'Tragicomedy as a Running Joke: Plautus' *Amphitruo* in Performance' by Timothy Moore, University of Texas

'Dramatic Genre and the Don Juan Theme' by Perry Gethner, Oklahoma State University

'Will the Real Medee Please Step Forward?' by Joy Sylvester, Texas A&M University

16.05 - Review - Aeschylus’ Prometheus Bound, Poreia Theatre, Summer Tour 2021, Greece
Nina Papathanasopoulou et al.

16.04 - Article - Akairos, or The Jerk:a performance translation of P.Oxy. 5189
Melissa Funke and C. W. Marshall

16.03 - Article - Leadership in the Time of COVID: Responding to Theater of War's The Oedipus Project
Krishni Burns

16.02 - Article - Feminism(s) and Humanism in Wertenbaker's Dianeira
Sofia Alagkiozidou

16.01 - Review - Communities and Contexts in the Theory and Practice of Roman Drama
Zoë Jennings

Volume 15 (2019)

Volume 14 (2018)

Volume 13 (2016-2017)

Volume 8 (2011) (new annual numbering begins)

7.02 - Close Relations (2009)

7.01 - Masks (Winter 2007)

6.03 - Responses to Ancient Drama in Contemporary Performance (Autumn 2006)

6.02 - Contemporary Electronic Research Initiatives (Summer 2005)

6.01 - Developments and Trends in Contemporary Research (Spring 2004)

5.03 - Electra (Summer 2002)

5.02 - Tantalus (Autumn 2001)

5.01 - Otago (Summer 2001)

4.02 - General Issue (Autumn 2001)

4.01 - Crossing the Ancient Stage (Spring 1997)

3.03 - The Performance of Homeric Epic (Winter 1996)

3.02 - General Issue (Autumn 1996)

3.01 - General Issue (Spring 1996)

2.03 - Roman Stagings (Winter 1995)

2.02 - Ancient Stagecraft (Autumn 1995)

2.01 - New Ancient Theater (February 1995)

1.06 - Supplement 1 - How is it Played? Genre, Performance and Meaning

1.05 - Embodying Ancient Theater (December 1994)

1.04 - Fusing Greek and Asian Drama (October 1994)

1.03 - Translating for the Stage II (August 1994)

1.02 - Translating for the Stage I (May 1994)

1.01 - Founding Issue (March 1994)

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