INTERNATIONAL SOCIETY FOR THE STUDY OF GREEK AND ROMAN MUSIC
The purpose of this new organization is to encourage research and teaching concerned with the music of the Greek and Roman civilizations, and to foster contacts between scholars working in this field. The Society's conception of its subject is open-ended, extending beyond the minutiae of musical practice and theory themselves to the study, for instance, of relations between music and other aspects of life and the arts in antiquity, of the roles of ideas derived from music in philosophy and science, and of the relations between the music of Greece and Rome and that of other cultures, including those of medieval and renaissance Europe.
The Society's first task will be to collect information about current research projects, new publications and related activities. Details of these will be published in a regular Newsletter which will be circulated to members. We hope that in due course the Society will also be able to take an active role in publishing of a more orthodox sort, and in arranging conferences.
Inquiries and applications for membership should be addressed to:
Dr Andrew Barker,
Department of Classics,
University of Otago,
PO Box 56,
Tel (03) 479-8709
Fax (03) 479-2305
The Journal of Performance Studies
ENTER TDR'S 5TH ANNUAL STUDENT ESSAY CONTEST
500 TO THE WINNER
TDR's Student Essay Winner will be published in TDR (along with a profile of the winner's department). Essays may be on any subject related to performance, but feel free to explore the boundaries of performance as well.
Entries should be in English, unbound, and 15-30 double-spaced typed manuscript pages.
Send 3 copies to:
TDR Student Essay Contest,
Tisch School of the Arts/NYU,
721 Broadway, 6th floor,
DEADLINE: MARCH 31, 1994
The winner will be announced in Fall 1994.
For questions call (212) 998-1626
SUMMER WORKSHOP ON ANCIENT GREEK THEATER
For BA, BFA, and MFA candidates in Theater Arts and Drama
July 1-August 14, 1994
The Hydra Workshop of Ancient Greek Theater is offering a workshop for undergraduates on ancient Greek tragedy. The six- week course will offer classes on the historical background of Greek tragedy, acting, directing, set and costume design, etc., with emphasis on mythology and the social and political background that created this unique theatrical form.
Beginning Acting-Classical Theater
Introduction to Greek Drama I (beginning) Acting Styles of the
Tragedians (advanced) Advanced Directing
Introduction to Greek Drama II (advanced) Advanced Acting
Speech and Voice for Performance
There is also a program of lectures given once a week by selected professors from the U.S., U.K., and Greece, and a two-day field trip to the relevant archaeological sites of the Peloponnese, led by a member of the American School of Classical Studies in Athens.
The tuition fee is US $3500 and includes accomodations, one meal per day, tickets to the archaeological sites, traveling expenses and accomodation in the Peloponnese, and theater tickets.
At the end of the workshop students will have the opportunity to present their own full-length performance in front of an audience.
Application deadline is May 1, 1994
For further information contact:
PO Box 1,
Hydra 180 40,
Tel. (0298) 52054
Fax (0298) 53369
Hydra Workshop--U.S. Office,
948 Vista Circle,
Brechtian Performance of Myth
July 18-30, 1994
This workshop includes classes in Tai Chi movement and vocal training which could prove useful to those who wish to perform in Greek and Roman drama. The sessions on Brechtian narrative performance will treat classical and other mythology according to the interest of the students.
Workshop fees range from $550-$1020, depending on whether participants wish course credit, room and board, etc.
Interested parties should contact:
George W. Angell,
Associate Professor of Theatre,
Sage Center for the Arts,
English-Language Videotapes of Classical Dramas
Films for the Humanities and Sciences
Peter Hall's National Theatre Oresteia Classical Comedy
(A joint treatment of Ecclesiazusae and Miles Gloriosus)
Oedipus the King, Antigone, and Oedipus at Colonus
Medea and Iphigeneia in Aulis
The Perilous Voyage: Homer's Odyssey
Staging Classical Comedy
The Changing Classical Audience for Theatre
Also tapes and filmstrips on many aspects of Greek and Roman history, art, and literature.
For a complete catalogue and information on PAL-format tapes,
Films for the Humanities and Sciences,
PO Box 2053, Princeton, NJ 08543-2053, USA.
Between 8:30 AM and 5:30 PM Eastern (US) Time
INDA Productions on Videotape
Classical Drama at Syracuse and Segesta
The following INDA performances are available on videocassete:
Plautus' Rudens at Segesta
Plautus' Stichus at Segesta
Seneca's Medea at Segesta
Aeschylus' Suppliants at Syracuse
Sophocles' Philoctetes at Syracuse
Euripides' Orestes at Syracuse
Sophocles' Antigone at Syracuse
Sophocles' Ajax at Syracuse
Aristophanes' Clouds at Syracuse
Sophocles' Electra at Syracuse
Seneca's Thyestes at Segesta
Plautus' Curculio at the Palazzolo Acreide Euripides' Alcestis at Syracuse
Sophocles' Oedipus Tyrannos at Syracuse
Plautus' Truculentus at Morgantina
Videotapes: L. 100, 000 each
For details contact:
Istituto Nazionale del Dramma Antico,
Corso Matteotti, 29,
Fax: (0931) 21424
NEW WORK ON COMPARATIVE TRAGEDY
Dying Acts: Death in Ancient Greek and Modern Irish Tragic Drama by Fiona Macintosh
(Cork University Press, September 1994)
As death has receded from the public domain in many modern Western societies, its presence has loomed increasingly large in much academic discourse. However, its representation in drama, and in the tragic drama in particular, has been all but neglected. Indeed, it is the death of tragedy rather than death in tragedy that has provided the focus of academic discussion. But it is only by considering both ancient and modern attitudes to death, together with these stage representations, that the absence of tragedy from much serious modern drama can be explained.
This book explores the relationships between the dramatic representations of death in two societies where elaborate rituals make death and dying a part of the processes of living in a way that is now alien to most modern Western societies. But it is not simply the shared conception of death that makes a comparison between the Greek tragedies and the Irish plays written some two and a half thousand years later both a valuable and an instructive task. The fact that mythical material forms the basis for many Irish plays written during the Literary Revival also makes such a comparison useful. Moreover, the writers of the Irish tragedies discussed-- notably Yeats and Synge--explicitly explicitly turned to the Greek tragedians as exempla in their attempt to found a national theatre. And the Irish hero Cuchulain was regularly compared to the Greek heroes Heracles and Achilles by Celtic scholars, no less than by the playwrights themselves.
This wide-ranging study will be of interest to students of Cultural Studies and Comparative Literature as well as those following courses in Irish Studies, the Classics, and Drama. By its comparative method, it sheds new light on both dramatic traditions and answers important questions concerning the complex interrelations of text and audience.
[Copy provided by the author. Dr. Fiona Macintosh teaches in the Department of Classics at the University of Reading, England.]