87 books like Public and Performance in the Greek Theatre

If Arnott’s approach makes it easier to understand and appreciate how Greek drama and theatre were part of a performance culture in classical Athens, Baldry’s widens that perception to the much broader social and political climate of ancient Greece, from the likely ‘invention’ of tragedy and comedy in Athens at the end of the 6th Century BCE, to their development throughout the Greek world over the next two centuries and survival to our own time.

The whole sense of this new art form, a synthesis of storytelling, poetry, music, and dance, which developed as a kind of living and moving sculpture, is a hard one to take in all at once.

What Baldry offers is a brief but clear introduction to the background of both tragedy and comedy for anyone whose awareness of the potential of plays and players only begins with Shakespeare. He is both readable and a reliable… show more.

While the first two links are a good introduction to classical drama and theatre for the uninitiated, this third choice is different, a vast and unparalleled compendium covering productions of the whole corpus of direct and marginal translations of Greek tragedy on the English stage over some 250 years.

It is a work of reference rather than a ‘good read’, but it is a book into which I hope everyone would find reason to dip who believes in research as an essential feature of creative preparation for the new production of a ‘classic’.

The book is written by two of the most prominent and inspirational contemporary classical scholars whose prolific output in kindred areas of the classics and of theatre history has little rival.

Issues such as stage censorship, social and political change and translation bias show how the classical repertoire from Aeschylus through to Seneca has made it possible,… show more.

Despite a somewhat daunting front cover, this is a most engaging book.

It can be misleading to divorce an understanding of Greek comedy from that of tragedy. Both were performed on specific occasions and engaged their audiences through complementary approaches to dramatic performance.

Kenneth Dover, knighted in 1977 for ‘services to scholarship’, was a most inspiring of teachers and a writer on all aspects of the ancient world, never more so than this book on Aristophanes.

Here he confronts all aspects of Old Comedy from a playwright who, through a mixture of farce and fantasy, created an unparalleled portrait of daily life in ancient Athens, but whose works remained fully untranslated and unperformed in English right up to the later years of the 20th Century.

Dover shirks neither political impetus, nor the ribaldry, blatant sexism, and often wildly obscene behaviour of the characters.

This may seem a rather strange nomination as it is the catalogue for a remarkable exhibition, curated by Mary Hart at the J. Paul Getty Museum in 2010.

The main justification is that this was probably the greatest collection of illustrations of dramatic performances in the classical world ever displayed together, in pots, paintings, and artefacts. Though hardly a reliable guide to how Greek comedies and tragedies were originally staged, the various artworks are given contexts and explanations in accompanying commentaries.

Above all, what the book validates is the belief that the earliest Greek theatre emerged as a visual art form, never initially to be preserved in print. Today, we do have some 46 more or less complete playtexts, including a couple from New Comedy, which there is no space to champion here, but which also features strongly throughout the catalogue.

Euripides is the Greek tragedian who, in my humble opinion, appeals most to the modern sensibility. Even in his own time (5th century Athens, BCE) he was regarded as an innovator who questioned the certainties of previous ages. The Bacchae is probably his greatest play, but Ion is the play set in Delphi. It includes the oracle (the Priestess of Apollo), as well as Apollo and Athena, as characters and, in it, the playwright begins to question the legitimacy of the gods themselves. Ion is the result of a divine rape, taken from his mortal mother at birth. The son of Apollo, he believes his parents abandoned him and works as a dogs-body and general helper in Apollo's Temple in Delphi. Then his mother and her husband, childless, arrive for a consultation...

Thrilling portraits of violent women in Greek tragedy—for example, Clytemnestra, Electra, and Medea—seem like an anomaly in a society that expected women to get married, bear children, be quiet, and stay at home. In this accessible introduction to the subject Rabinowitz examines tragedy in its original theatrical and social contexts. Her analyses of selected plays are grounded in psychoanalytic and feminist theory, and include vivid accounts of some modern performances. Whatever is happening in the world, there is always a Greek tragedy that speaks to it. 

The late Christian Habicht was one of the foremost authorities on Hellenistic Greece. His book is both a synthesis of his research and publications on this period and an incisive and in-depth narrative of Athens down to 30 BC, anchored in the ancient, especially inscriptional, evidence. He shows among other things how Athens remained a vital city in Greece and how its intellectual and social life continued to flourish but how limited its democracy was. Habicht’s book could not take into account recent and much-needed epigraphical publications of the city’s major state decrees and laws and new insights into chronology, but it is still an indispensable read.

As a cancer survivor and bone marrow transplant recipient, I found this book enormously helpful personally as well as professionally.

Drawing on his experience as a theater director producing ancient Greek tragedies for survivors of war, addiction, natural disasters, and other calamities, Doerries brings these ancient plays to life for contemporary audiences. His moving, personal, generous account – part memoir, part philosophical exploration – eloquently exposes the value of Greek tragedy for coping with trauma and tragedy today.

This lucidly written scholarly book considers how revenge was understood in ancient Athens and what the implications of this understanding are for reading tragedies whose plot lines feature revenge.

My favourite chapter is the one on Sophocles’ fragmentary Tereus, in which Procne takes revenge against her husband, Tereus, for raping and mutilating her sister Philomela, by killing her son Itys and serving him to his father in a pie. It is a compelling and horrifying storyline that influenced Shakespeare’s Titus Andronicus.

Burnett’s careful reading seeks to reconstruct the fragments of the play to explain how the playwright delivered this extreme violence as a tragic revenge plot.

This academic work rarely left my side when I was writing The Muse of Fire. It provides an in-depth and well-researched overview for readers who want to know more about the Old Price Riots of 1809—the central historical event in the novel. For me, a huge bonus was that the author, Marc Baer, very graciously consented to read and provide feedback on my book before it was published to ensure I got my facts right about the longest-running and most disruptive riot in British theatrical history.