Performing Greek drama in Oxford and on tour with the Balliol Players
- 作者: Wrigley, Amanda.
- 出版: Exeter : University of Exeter Press 2011.
- 稽核項: xvi, 320 pages :illustrations ;24 cm.
- 標題: Greek drama , Modern presentation. , Greek drama Modern presentation. , University of Oxford Drama. , University of Oxford , Oxford University Dramatic Society.
- ISBN: 085989844X , 9780859898447
- 附註: 103年科技部補助人文及社會科學研究圖書設備計畫規畫主題:藝術學:全球化與劇場跨界 Includes bibliographical references (pages 269-296) and index. Introduction : Oxford's Greek play 'tradition' -- The academic drama in the humanist curriculum and culture of Oxford -- 'The young men in women's clothes' -- Languages of translation : productions in ancient Greek by OUDS, 1887-1914 -- Women, war and Gilbert Murray -- The Oxford Playhouse, inter-war OUDS and connections with BBC Radio -- The Balliol Player's social idealism and their performances for Thomas Hardy, 1923-1927 -- 'A first-class excuse for legitimate vagabondage' : the Balliol Players, 1928-1939 -- The Aristophanic Balliol Players, 1947-1976.
- 摘要: "In the mid-nineteenth century, classical burlesques of Greek plays were all the rage until the great London scandal of 'The Young Men in Women's Clothes' which halted student drama for a decade. In 1880 Benjamin Jowett famously nurtured a serious performance of Aeschylus' Agamemnon at Balliol, which led to regular productions of Greek drama in the original language by the all-male Oxford University Dramatic Society (OUDS) up until 1932. Meanwhile, women students at Oxford enjoyed their own performative engagements with ancient Greece, beginning with Robert Bridges' masque Demeter at Somerville in 1904. Professional female actors such as Sybil Thorndike and Penelope Wheeler had a special connection with Oxford through the classicist Gilbert Murray and poet laureate John Masefield's Boars Hill Players. The final chapters tell the story of the Balliol Players. In the early 1920s this group of students--fired by post-war 'missionary' enthusiasm and supported by the elderly Thomas Hardy--determined to take Greek plays in translation to school and public audiences in the south and west of England in their summer vacations. Born from a socially idealistic impulse, the tradition lasted for over five decades, during which earnest productions of tragedy gave way to satirical and irreverent re-writings of Aristophanes, typical of the spirit of the sixties."--Jacket.
- 系統號: 005257667
- 資料類型: 圖書
- 讀者標籤: 需登入
- 引用網址: 複製連結
"In the mid-nineteenth century, classical burlesques of Greek plays were all the rage until the great London scandal of 'The Young Men in Women's Clothes' which halted student drama for a decade. In 1880 Benjamin Jowett famously nurtured a serious performance of Aeschylus' Agamemnon at Balliol, which led to regular productions of Greek drama in the original language by the all-male Oxford University Dramatic Society (OUDS) up until 1932. Meanwhile, women students at Oxford enjoyed their own performative engagements with ancient Greece, beginning with Robert Bridges' masque Demeter at Somerville in 1904. Professional female actors such as Sybil Thorndike and Penelope Wheeler had a special connection with Oxford through the classicist Gilbert Murray and poet laureate John Masefield's Boars Hill Players. The final chapters tell the story of the Balliol Players. In the early 1920s this group of students--fired by post-war 'missionary' enthusiasm and supported by the elderly Thomas Hardy--determined to take Greek plays in translation to school and public audiences in the south and west of England in their summer vacations. Born from a socially idealistic impulse, the tradition lasted for over five decades, during which earnest productions of tragedy gave way to satirical and irreverent re-writings of Aristophanes, typical of the spirit of the sixties."--Dust jacket.
來源: Google Book
來源: Google Book
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