By Hanna M. Roisman
The Encyclopedia of Greek Tragedy is the 1st accomplished reference paintings to hide all points of the precise type of dramatic theater that flourished in historical Greece with its apex within the fifth century BCE.
- Features a variety of entries and techniques by way of a global workforce of specialists and rising scholars
- Accessible to either newcomers and specialists within the field
- Includes specific cross-referencing for ease of navigation
- Covers the 32 extant performs and playwrights of the interval, together with info on a few misplaced works and surviving fragments
- Available in 3 print volumes, or on Wiley on-line Library: www.wileyonlinelibrary.com/ref/greektragedy
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Additional info for The encyclopedia of Greek tragedy
2003b. ” JHS 123: 77–103. J. ). 1994. Euripides: Phoenissae. Cambridge: Cambridge University Press. L. 1981. ” BICS 28: 61–78. W. 1971. ” CQ 21: 343–64. Further Reading Falkner, T. 2002. “Scholars versus Actors: Text and Performance in the Greek Tragic Scholia,” in P. Easterling and E. ), Greek and Roman Actors: Aspects of an Ancient Profession. Cambridge: Cambridge University Press: 342–61. L. 1934. Actors’ Interpolations in Greek Tragedy. Studied with Special Reference to Euripides’ Iphigenia in Aulis.
Lewis. Jonathan Strain earned his BA from the University of Chicago and is a PhD candidate at the University of Texas at Austin. He is writing a dissertation on Euripides, Aristophanes and the interface between tragedy and comedy. Ann Suter is Professor Emerita of Classical Studies at the University of Rhode Island. She is the author of The Narcissus and the Pomegranate: An Archaeology of the Homeric “Hymn to Demeter” (2002) and editor and contributor to Lament: Studies in the Ancient Mediterranean and Beyond (‚Male Lament in Greek Tragedy‛) (2008).
Aes. De Falsa Leg. 19). Aeschines preceded his career as an orator in Athens with a brief, apparently not very successful acting career. Demosthenes mocked him (in 343 BCE) for being a tritagonist, and associated him with the tyrant CREON from SOPHOCLES’ ANTIGONE, whom he apparently played (Dem. De Falsa Leg. 199, 247). Athenodoros (D341) was active in the midfourth century. He traveled with Alexander of Macedon. When he was found in breach of contract, not appearing in cities from which he had received financial deposits, Alexander paid the fines on his behalf (Plut.
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