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uplo-791-m-15-9781474415576030115978147441557601internal-reference7910610.1515/978147441557600EBE10710Creative Commons Attribution-NonCommercial (CC BY-NC)02http://creativecommons.org/licenses/by-nc/4.0/1001RUA Series ID800102Edinburgh Critical Studies in Modernism, Drama and Performance0101Greek Tragedy and Modernist PerformanceHellenism as Theatricality1A01Olga TaxidouOlgaTaxidou01eng002080323User DefinedLiterary Studies23User DefinedLiterary Genres and Media23User DefinedDrama Theater10LIT01300093DSG01010300<p>This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves – the actor, the designer, the director, the playwright – are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice. </p>0200<p>This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves – the actor, the designer, the director, the playwright – are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice. </p>0400Frontmatter CONTENTS LIST OF ILLUSTRATIONS ACKNOWLEDGEMENTS 1 INTRODUCTION: ‘WHAT’S HECUBA TO HIM, OR HE TO HECUBA?’ 2 ISADORA DUNCAN, EDWARD GORDON CRAIG AND THE DREAM OF AN IMPOSSIBLE THEATRE 3 POETIC DRAMA: THEATRICALITY, PERFORMABILITY AND TRANSLATION 4 H.D.: FEET, HANDS AND HIEROGLYPHS 5 EPIC, TRAGIC, DRAMATIC THEATRE AND THE BRECHTIAN PROJECT 6 AFTERWORD: (NO) MORE MASTERPIECES BIBLIOGRAPHY INDEX3000<p>This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves – the actor, the designer, the director, the playwright – are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice. </p>2000Open Access01000302https://storage.googleapis.com/rua-uplo/files/media/cover_images/7d9d1236-64ca-4a87-8f25-680c960b5592.jpg1030610.1515/9781474415576-fmChapter0101Frontmatter1A01Olga TaxidouOlgaTaxidou01eng2000Open Access2030610.1515/9781474415576-tocChapter0101CONTENTS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access3030610.1515/9781474415576-001Chapter0101LIST OF ILLUSTRATIONS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access4030610.1515/9781474415576-002Chapter0101ACKNOWLEDGEMENTS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access5030610.1515/9781474415576-003Chapter01011 INTRODUCTION: ‘WHAT’S HECUBA TO HIM, OR HE TO HECUBA?’1A01Olga TaxidouOlgaTaxidou01eng2000Open Access6030610.1515/9781474415576-004Chapter01012 ISADORA DUNCAN, EDWARD GORDON CRAIG AND THE DREAM OF AN IMPOSSIBLE THEATRE1A01Olga TaxidouOlgaTaxidou01eng2000Open Access7030610.1515/9781474415576-005Chapter01013 POETIC DRAMA: THEATRICALITY, PERFORMABILITY AND TRANSLATION1A01Olga TaxidouOlgaTaxidou01eng2000Open Access8030610.1515/9781474415576-006Chapter01014 H.D.: FEET, HANDS AND HIEROGLYPHS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access9030610.1515/9781474415576-007Chapter01015 EPIC, TRAGIC, DRAMATIC THEATRE AND THE BRECHTIAN PROJECT1A01Olga TaxidouOlgaTaxidou01eng2000Open Access10030610.1515/9781474415576-008Chapter01016 AFTERWORD: (NO) MORE MASTERPIECES1A01Olga TaxidouOlgaTaxidou01eng2000Open Access11030610.1515/9781474415576-009Chapter0101BIBLIOGRAPHY1A01Olga TaxidouOlgaTaxidou01eng2000Open Access12030610.1515/9781474415576-010Chapter0101INDEX1A01Olga TaxidouOlgaTaxidou01eng2000Open Access01URLhttps://www.euppublishing.com/Edinburgh University Press01Edinburgh University Press01Publisher’s corporate websitehttps://uplopen.com02Publisher’s website for a specified workhttps://uplopen.com/books/m/10.1515/9781474415576Edinburgh, UK040120210423The Author(s)02WORLD06159781474415569WORLD11Unknown36Supplier’s website for a specified workhttps://uplopen.com29Supplier’s website: download the titlehttps://uplopen.com/books/791/files/e94a8c65-f6c8-4b15-bae3-59cd63153ea1.pdf20082021042301uplo-791-m-15-9781474415569030115978147441556901internal-reference7910610.1515/978147441557600BCB20210026.25in030.75in081.03lb019.25inCreative Commons Attribution-NonCommercial (CC BY-NC)02http://creativecommons.org/licenses/by-nc/4.0/1001RUA Series ID800102Edinburgh Critical Studies in Modernism, Drama and Performance0101Greek Tragedy and Modernist PerformanceHellenism as Theatricality1A01Olga TaxidouOlgaTaxidou01eng002080323User DefinedLiterary Studies23User DefinedLiterary Genres and Media23User DefinedDrama Theater10LIT01300093DSG01010300<p>This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves – the actor, the designer, the director, the playwright – are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice. </p>0200<p>This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves – the actor, the designer, the director, the playwright – are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice. </p>0400Frontmatter CONTENTS LIST OF ILLUSTRATIONS ACKNOWLEDGEMENTS 1 INTRODUCTION: ‘WHAT’S HECUBA TO HIM, OR HE TO HECUBA?’ 2 ISADORA DUNCAN, EDWARD GORDON CRAIG AND THE DREAM OF AN IMPOSSIBLE THEATRE 3 POETIC DRAMA: THEATRICALITY, PERFORMABILITY AND TRANSLATION 4 H.D.: FEET, HANDS AND HIEROGLYPHS 5 EPIC, TRAGIC, DRAMATIC THEATRE AND THE BRECHTIAN PROJECT 6 AFTERWORD: (NO) MORE MASTERPIECES BIBLIOGRAPHY INDEX3000<p>This book examines the ways the encounters between modernist theatre makers and Greek tragedy were constitutive in the modernist experiments in performance. Through a series of events / instances / poses that engage visual, literary and performing arts, the modernist love/hate relationship with classical Greek tragedy is read as contributing to a modernist notion of theatricality, one that follows a double motion, revising both our understanding of Greek tragedy and of modernism itself. Isadora Duncan, Edward Gordon Craig, T.S. Eliot, Ezra Pound, W. B. Yeats, H. D, and Bertolt Brecht and their various, sometimes successful sometimes failed experiments in creating a modernist aesthetic in performing, dancing, translating, designing Greek tragedies, sometimes for the stage and sometimes for the page, are presented as radical experiments in and gestures towards the autonomy of performance. In the process the artists of the theatre themselves – the actor, the designer, the director, the playwright – are reconfigured and given a lineage and genealogy, through this modernist revision of tragedy and the tragic not as as a philosophical or philological tradition, but as a performance practice. </p>2000Open Access01000302https://storage.googleapis.com/rua-uplo/files/media/cover_images/7d9d1236-64ca-4a87-8f25-680c960b5592.jpg1030610.1515/9781474415576-fmChapter0101Frontmatter1A01Olga TaxidouOlgaTaxidou01eng2000Open Access2030610.1515/9781474415576-tocChapter0101CONTENTS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access3030610.1515/9781474415576-001Chapter0101LIST OF ILLUSTRATIONS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access4030610.1515/9781474415576-002Chapter0101ACKNOWLEDGEMENTS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access5030610.1515/9781474415576-003Chapter01011 INTRODUCTION: ‘WHAT’S HECUBA TO HIM, OR HE TO HECUBA?’1A01Olga TaxidouOlgaTaxidou01eng2000Open Access6030610.1515/9781474415576-004Chapter01012 ISADORA DUNCAN, EDWARD GORDON CRAIG AND THE DREAM OF AN IMPOSSIBLE THEATRE1A01Olga TaxidouOlgaTaxidou01eng2000Open Access7030610.1515/9781474415576-005Chapter01013 POETIC DRAMA: THEATRICALITY, PERFORMABILITY AND TRANSLATION1A01Olga TaxidouOlgaTaxidou01eng2000Open Access8030610.1515/9781474415576-006Chapter01014 H.D.: FEET, HANDS AND HIEROGLYPHS1A01Olga TaxidouOlgaTaxidou01eng2000Open Access9030610.1515/9781474415576-007Chapter01015 EPIC, TRAGIC, DRAMATIC THEATRE AND THE BRECHTIAN PROJECT1A01Olga TaxidouOlgaTaxidou01eng2000Open Access10030610.1515/9781474415576-008Chapter01016 AFTERWORD: (NO) MORE MASTERPIECES1A01Olga TaxidouOlgaTaxidou01eng2000Open Access11030610.1515/9781474415576-009Chapter0101BIBLIOGRAPHY1A01Olga TaxidouOlgaTaxidou01eng2000Open Access12030610.1515/9781474415576-010Chapter0101INDEX1A01Olga TaxidouOlgaTaxidou01eng2000Open Access01URLhttps://www.euppublishing.com/Edinburgh University Press01Edinburgh University Press01Publisher’s corporate websitehttps://uplopen.com02Publisher’s website for a specified workhttps://uplopen.com/books/m/10.1515/9781474415576Edinburgh, UK040120210423The Author(s)02WORLD06159781474415576WORLD11Unknown20082021042308