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EPICPERFORMANCESFROMTHEMIDDLEAGES INTOTHETWENTY-FIRSTCENTURY
Frontispiece. PaperCinema Odyssey (2012)Poster.APGRDcollection. ©NicRawling.
EpicPerformancesfromthe MiddleAgesintothe Twenty-FirstCentury Editedby FIONAMACINTOSH, JUSTINEM C CONNELL, STEPHENHARRISON,AND
CLAIREKENWARD GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom
OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries ©FionaMacintosh,JustineMcConnell,StephenHarrison, ClaireKenward,andtheseveralcontributors2018
Themoralrightsoftheauthorshavebeenasserted FirstEditionpublishedin2018
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Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove
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Acknowledgements Duringthe firstfewyearsofthenewmillennium,theGraeco-Romanepics regularlyfeaturedinstaged,musical,dance,operatic,and filmperformances. Yettherewasnosystematicstudyofthelonghistoryofepic-inspiredperformancesinvariousmediaacrosspreviousmillennia.Thethree-yearAPGRD Leverhulme-funded ‘PerformingEpic’ project,basedattheArchiveofPerformancesofGreekandRomanDrama(APGRD),UniversityofOxford, soughttoaddressthislargelyuntoldhistory.¹
Theprojecthasgrownalongtheway,justliketheepicsthatinspiredit,and withthisdevelopmenthavecomenumerousdebts.Asever,wearetruly gratefultothemarvellousteamatOUP:toCharlotteLoveridgeandGeorgie Leighton;andtoTomPerridge,whoinitiallyoversawthecommissioning process.Wearealsoindebtedtoourscrupulouscopy-editorRowenaAnketell, toourproofreaderBrianNorth,toourProductionManagerSaranyaJayakumar, andtoouroutstandingindexerCherylHunston,whosepatienceandskills haveconsiderablyenhancedthisAPGRDvolume.
Wewishtothankthefollowinginparticularfortheirhelpandsupportin variousways:TaniaDemetriouforkindlygivingusadvancecopyofher forthcomingmajorstudyofHomerintheearlymodernperiodafterother commitmentspreventedherfromcontributingtothevolume;toHelenSlaney andtoSusanneWoffordtoofortheirverystimulatingpapersatthe firstofour workshops.RachaelWhitehasperformedabrillianttaskontheBibliography anddonesowithcharacteristicprecisionandgoodhumour.Hugethanksto HannahSilverblank,LilyAaronovitch,PeterSwallow,andZoeJenkinsfor theirhelpincataloguingtheepicmaterial.Wearealsoenormouslygratefulto thePerformingEpicAdvisoryBoardmembers:EdithHall,OliverTaplin, StepheHarrop,RachelBryantDavies,HenryStead,andMarchellaWard. Lastbutbynomeansleast,weremainindebtedtoallAPGRDcolleaguesfor theirongoingsupport,andencouragement,notleastPeterBrown,Felix Budelmann,ConstanzeGüthenke,NaomiSetchell,andTomWrobel.
¹<http://www.apgrd.ox.ac.uk/aboutus/research/performingepic>.
ListofIllustrations xi
ListofContributors xv
NoteonNomenclature,Spelling,andTexts xxi
I.DEFININGTERMS 1. ‘Epic’ Performances:FromBrechttoHomerandBack3 FionaMacintosh
2.PerformingEpicandReadingHomer:AnAristotelian Perspective16 BarbaraGraziosi
3.ShakespeareandEpic31 ColinBurrow
4.TheatreonanEpicScale46 TimSupple
II.CROSSINGGENRES 5.EncounteringHomerthroughGreekPlaysin Sixteenth-CenturyEurope63 TanyaPollard
6.EpicActinginShakespeare’ s Hamlet 76 DavidWiles
7. ‘Iamthatsamewall;thetruthisso’:Performinga TalefromOvid90 MarchellaWard
8.MonstersandtheQuestionofInheritanceinEarly ModernFrenchTheatre103 WesWilliams
9.TheFutureofEpicinCinema:TropesofReproduction inRidleyScott’ s Prometheus 119 PantelisMichelakis
10.FromEpictoLyric:AliceOswald’sandBarbaraKöhler’ s RefiguringsofHomericEpic 133 GeorginaPaul
viii Contents
11.ChoreographingEpic:TheOceanasEpic ‘Time-Space’ inHomer,Joyce,andCunningham149 ArabellaStanger
12.EpicBodies:FilteringthePastandEmbodyingthe Present APerformer’sPerspective 164 Marie-LouiseCrawley
III.FORMALREFRACTIONS 13.AHarmlessDistemper:AccessingtheClassicalUnderworld inHeywood’ s TheSilverAge 181 MargaretKean
14.EpicPoetryintoContemporaryChoreography:Two Twenty-First-CenturyDanceAdaptationsofthe Odyssey 194 TomSapsford
15.VoicingVirgil:DantePerformstheLatinEpic 209 RobinKirkpatrick
16.HomerasImproviser? 228 GraemeBird
17. ‘Nowhearthis’:TextandPerformanceinChristopherLogue’ s WarMusic (1959–2011) 250 HenryPower
18.UnfixingEpic:HomericOralityandContemporary Performance 262 StepheHarrop
19.MultimodalTwenty-First-CenturyBards:FromLive PerformancetoAudiobookintheHomericAdaptations ofSimonArmitageandAliceOswald 275 EmilyGreenwood
20.Homer ‘ViewedfromtheCorridor’:EpicRefractedin MichaelTippett’ s KingPriam 289 EmilyPillinger
IV.EMPIREANDPOLITICS 21.InstitutionalReceptions:Camões,Saramago,and theContemporaryPoliticsof TheLusíads onStage 307 TatianaFaia
22.AchillesinFrenchTragedy(1563–1680)322 TiphaineKarsenti
23.TheSpectacleofConquest:EpicConflictson theSeventeenth-CenturySpanishStage 336 ImogenChoi
24.EpiconStageintheDutchRepublic 351 FrederickNaerebout
25. ‘Marpesiacautes’:VoicingAmazons,EnglandandIreland,1640361 DeanaRankin
26.Afterthe Aeneid:AscaniusinEighteenth-CenturyOpera377 StephenHarrison
27.EpicPerformancethrough InvencãodeOrfeu and AnIliad:TwoInstantiationsofEpicasEmbodimentin theAmericas 389 PatriceRankine
28.PerformingWalcott,PerformingHomer: Omeros onStage andScreen 404
JustineMcConnell
V.HIGHANDLOW 29. ‘Ofarmsandtheman’:ThersitesinEarlyModern EnglishDrama
ClaireKenward
30.ClassicalEpicandtheLondonFairs,1697–1734
EdithHall
31.ClassicalEpicinEarlyMusicalTheatre:TheCaseofKane O’Hara’ s Midas
HenryStead
32.EpicTransposed:TheRealandtheHyperrealduring theRevolutionaryPeriodinFrance
FionaMacintosh
33.SacrilegiousTranslation:TheEpicFlopofFrançoisPonsard’ s Ulysse (1852)
CécileDudouyt
34.EpicCassandrasinPerformance,1795–1868
LauraMonrós-Gaspar
35. ‘Oftherage,singGoddess’:EpicOpera524 MargaretReynolds
36.Fish,Firemen,andPrizeFighters:TheTransformationof the Iliad and Aeneid ontheLondonBurlesqueStage540 RachelBryantDavies
Epilogue.Voices,Bodies,Silences,andMedia:Heightened ReceptivityinEpicinPerformance558 LornaHardwick
Bibliography 573
Index 619 x Contents
ListofIllustrations Frontispiece.PaperCinema Odyssey (2012)Poster.APGRDcollection.ii ©NicRawling.
1.1.MarinaCarr’ s Hecuba (2015)attheRSC.Hecubaonthethrone.12
PhotographbyTopherMcGrills©RSC.
4.1.PeterBrook’ s Battlefield(2016).57
PhotographbyRichardTermine.©RichardTermine.
8.1. L’Histoireéthiopiqued’Héliodore[...]Traduitedegrecenfrançois, parMaistreJ.AmiotconseillerduRoy [etc.](Paris:ChezAnthoine deSommaville,1626),facingp.635.107
9.1. ‘Engineerdisintegratesintoprimordialwaters’.Framecapturefrom DVDeditionby20thCenturyFoxHomeEntertainmentof RidleyScott’ s Prometheus (2012).122 ©20thCenturyFox.
10.1.Epic(model).Numbersdenotecharactersinthenarrative;letters denote(implied)locations.136
10.2.Lyric(model).Thelyricimagesareheldsimultaneouslyinthespace ofthepoem.137
12.1.MarieLouiseCrawleyinmaskasMyrrha.
PhotographbyChristianHunt.©ChristianHunt. 173
14.1.ClemmieSveaasin Nest. 199
PhotographbyBarnabyChurchillSteel.©BarnabyChurchillSteel.
14.2. Nest performanceimage.201
PhotographbySandraCiampone.©SandraCiampone.
14.3.SonyaCullingfordandAaronVickersin ‘Choreographingthe Katabasis’ . ©CathyMarston. 205
16.1.Homer’ s Iliad,1.115.GreektakenfromLord(2000),143. 234 ©1960,2000bythePresidentandFellowsofHarvardCollege. ©renewed1988byAlfredBatesLord.
16.2.Homer’ s Iliad,1.115. 235
Englishtranslationbytheauthor.
16.3.MusicalnotationbyGraemeBird. 237
16.4.MusicalnotationbyGraemeBird. 238
16.5.MusicalnotationbyGraemeBird. 238
16.6.MusicalnotationbyGraemeBird.
16.7.ColePorter’ s ‘NightandDay’,Improv1,p.1.
238
©GraemeBird. 240
16.8.ColePorter’ s ‘NightandDay’,Improv1,p.2.
©GraemeBird. 241
19.1.CopiesofAliceOswald’ s Memorial,andSimonArmitage’ s Homer’ s Odyssey and WalkingHome heldinasampleofUKpubliclibraries. Compiledbytheauthor.
27.1.TimothyEdwardKaneintheCourtTheatre,Chicagoproduction of AnIliad (2011).
©MichaelBrosilow.
28.1.PhotoofJosephMarcellin Omeros,byDerekWalcott,directed byBillBuckhurst,intheSamWanamakerPlayhouseat Shakespeare’sGlobe(2015).
PhotographbyPeteLeMay.©Shakespeare’sGlobe.
284
397
412
29.1.TitlepagetoThomasHeywood’ s TheSecondPartof theIronAge (1632).424
30.1.WilliamHogarth’ s SouthwarkFair engraving(1734). MetropolitanMuseumofArt.Publicdomain.
30.2.EngravingoftheTrojanHorseinTroy,reproducedfromthe3rdedn. of TheWorksofVirgil,ContaininghisPastorals,GeorgicsandAeneis, translatedintoEnglishbyMrDryden(London:J.Tonson,1699). ReproducedbypermissionofPaulHartle.Theengravingswerereproduced fromthoseinJohnOgilby’stranslation(1654).
30.3.TitlepageoftheSouthwarkFaireditionof TheSiegeofTroy droll(1707).
ReproducedbypermissionofKing’sCollegeLibrary.
30.4.TitlepageofSettle’sTroyOpera(1702),variouslyentitled Cassandra: TheVirginProphetess and TheVirginProphetess;orTheFateofTroy. ReproducedbypermissionoftheBritishLibrary.
30.5.Frontispieceandtitlepageto TheNewHistoryoftheTrojanWars andTroy’sDestruction (1750edn.,London:J.Hodges).
Intheauthor’sprivatecollection.
31.1. KaneO’Hara byEdmundDorrell.Etching,published1November 1802.NPGD5391.
©NationalPortraitGallery,London.
31.2. TheBlindEnthusiast.Cartoon,BritishMuseum,image no.AN361549001.
©TheTrusteesoftheBritishMuseum.
440
445
446
450
460
468
472
32.1.PierreGardelasTélémaque.PaintingbySébastienCœuréinthe collectionofJeanLouisTamvaco,Paris.488
32.2.AngelicaKauffman, TelemachusandtheNymphsofCalypso (1782). MetropolitanMuseumofArt.Publicdomain. 489
32.3.WilliamHamilton, CalypsoReceivingTelemachusandMentorin theGrotto (1782).490 Privatecollection.Publicdomain.
34.1. SiegeofTroy Playbill.
©SenateHouseLibrary,UniversityofLondon. 513
34.2. ‘Hodgson’sCharactersintheGiantHorse:DescentoftheGreek spiesfromthegianthorse’ . ©VictoriaandAlbertMuseum,London. 518
34.3. ‘Hodgson’sCharactersintheGiantHorse’
©VictoriaandAlbertMuseum,London. 519
36.1.Astley’sPlaybill, SiegeofTroy
©VictoriaandAlbertMuseum,London. 541
36.2. ‘The PasdeDéesses atHerMajesty’sTheatre’ , Illustrated LondonNews,1August1846. 546
36.3. ‘The “TalkingFish”’ , IllustratedLondonNewsoftheWorld, 14May1859,p.292. 548
ListofContributors GraemeBird studiedClassicsatAucklandUniversityinhisnative NewZealand,beforecomingtotheUSandearningamusicdegreeinjazz pianofromtheBerkleeCollegeofMusic,andthenaPhDinClassicalPhilology fromHarvardUniversity.Hispublicationsincludeamonographonthe PtolemaicPapyriofHomer’ s Iliad,aswellasachapteronCriticalSignsinthe tenth-century Iliad manuscriptVenetusA.HecurrentlyteachesLinguisticsand ClassicsatGordonCollegeinWenham,andMathematicsattheHarvard UniversityExtensionSchoolinCambridge,bothinMassachusetts.
RachelBryantDavies holdsanAddisonWheelerFellowshipintheDepartmentofClassicsattheUniversityofDurhamandisanEarlyCareerAssociate withtheAPGRD.Her firstbook, Troy,CarthageandtheVictorians:The DramaofClassicalRuinsintheNineteenth-CenturyImagination (2017)was researchedduringherDoctoralFellowshipwiththeLeverhulme-fundedCambridgeVictorianStudiesGroup.Forthcomingpublicationsincludeanedition ofacriticalanthologyof VictorianEpicBurlesque and,withBarbaraGribling, ChildhoodEncounterswithHistoryinBritishCulture,1750–1914.Hercurrent projectis ‘ClassicsatPlay:Graeco-RomanAntiquityinBritishChildren’ s Culture,1750–1914’ .
ColinBurrow isProfessorofEnglishandComparativeLiteratureand SeniorResearchFellowatAllSoulsCollege,Oxford.Hismostrecentbook is ShakespeareandClassicalAntiquity (2013).
ImogenChoi isAssociateProfessorofSpanishGoldenAgeLiteratureatExeter College,UniversityofOxford.Herresearchfocusesonthewaysinwhichearly modernSpanishandLatinAmericanliteratureactsasamediumforpolitical thoughtanddiscussionoftheethicsofwarinSpain’sfar-flungempire.Her publicationstodatehaveappliedthisapproachtotheHispanicepictradition.
Marie-LouiseCrawley studiedattheUniversityofOxfordandwasvocationallytrainedwithMarcelMarceauathisschoolinParis.Marie-Louisebegan herprofessionalperformancecareerwithArianeMnouchkine’sThéâtredu Soleil(2003–9).Since2010,shehasbeenworkingintheUKasanindependent choreographeranddanceartistwithcompaniesasdiverseasBirmingham OperaCompany,MarcBrew,GaryClarke,BalletCymru,andRosieKay DanceCompany.NewchoreographicworkhasincludedpiecesforaTATE/ ARTISTROOMSexhibitandfortheAshmoleanMuseum,Oxford.Shewas recentlyArtist-in-ResidenceattheAPGRD(2017)andiscurrentlyaPhD candidateatC-DaRE(CentreforDanceResearch),CoventryUniversity.
CécileDudouyt isAssistantProfessorattheUniversityofParis13,Sorbonne ParisCité,wheresheteachesTranslationandTranslationStudies.Her researchexploresthereceptionoftranslatedancientGreektheatreinEnglish andFrenchfromtheRenaissancetotheEnlightenment.
TatianaFaia isbothascholarandapoetaffiliatedtotheCentreforClassical StudiesoftheUniversityofLisbon.Herdoctoralthesisstudiedcharactersand characterizationinthe Iliad.Sheworksonclassicalreceptionincontemporary Portugueseliterature.Recentlypublishedworkexploresthelinksbetweenthe poetryofHerbertoHelder,AdrienneRichandthemythofOrpheus,and FernandoPessoaonAntinous;andforthcomingisastudyonPessoa’stheatre andFantin-Latour’spaintings.Sheisoneoftheeditorsoftheliteraryjournal/ smallpress Enfermaria6,aprojectcommittedtocuratethebestofLusophone contemporarywriting.
BarbaraGraziosi isProfessorofClassicsatPrincetonUniversity.Hernumerouspublicationsinclude Homer (2016), TheGodsofOlympus:AHistory (2013),and InventingHomer:TheEarlyReceptionofEpic (2002);andwith JohannesHaubold, Homer:IliadBookVI (2010)and Homer:TheResonanceof Epic (2005).
EmilyGreenwood isProfessorofClassicsatYaleUniversity.Sheistheauthor of ThucydidesandtheShapingofHistory (2006)and Afro-Greeks:Dialogues BetweenAnglophoneCaribbeanLiteratureandClassicsintheTwentiethCentury (2010).ShehaspublishedwidelyonancientGreekhistoriography,the adaptationandtranslationofvariousGreekauthors,andthebroaderreceptionofclassicalantiquity.
EdithHall isProfessorofClassicsatKing’sCollegeLondonandCo-Founder andConsultantDirectoroftheAPGRD.Shehaspublishedtwenty-fivebooks onancientcultureanditsreception,themostrecentbeing Introducingthe AncientGreeks (2014)and Happiness:TenWaysAristotleCanChangeyour Life (2017).Sheistherecipientofthe2015ErasmusPrizeoftheEuropean AcademyandanHonoraryDoctoratefromtheUniversityofAthens.
LornaHardwick isEmeritusProfessorofClassicalStudiesattheOpen University,UKandanHonoraryRese archAssociateattheAPGRD,UniversityofOxford.Sheis(withJamesPorter)theeditorofthe Classical Presences series(OxfordUniversityPress)andwasthefoundingeditorof the ClassicalReceptionsJournal .SheisDirectoroftheReceptionofClassical TextsResearchProjectandauthorof TranslatingWords,TranslatingCultures (2000)and ReceptionStudies (2003,alsotranslatedintoGreek),and co-editorof ClassicsinPost-ColonialWorlds (2007), CompaniontoClassical Receptions (2007),and ClassicsintheModernWorld:A ‘ Democratic Turn’? (2013).
StephenHarrison isProfessorofLatinLiterature,FellowandTutorinClassics atCorpusChristiCollege,UniversityofOxford,andAdjunctProfessoratthe universitiesofCopenhagenandTrondheim.Hehaspublishedextensivelyon Latinliteratureanditsreception,including ACommentaryonVergil,Aeneid 10 (1991), GenericEnrichmentinVergilandHorace (2007), LivingClassics: GreeceandRomeinContemporaryPoetryinEnglish (ed.2009), LouisMacNeice:TheClassicalRadioPlays (jointlyeditedwithAmandaWrigley,2013), and ClassicsintheModernWorld:A ‘DemocraticTurn’? (jointlyeditedwith LornaHardwick,2013).HeisamemberoftheAPGRDAdvisoryBoard.
StepheHarrop isSeniorLecturerinDrama(ShakespeareandtheClassics)at LiverpoolHopeUniversity.Herresearchfocusesonthereperformanceof ancientdramaandepic,thetraditionalartsonmodernBritishstages,and contemporarystorytelling practices.StepheisalsoanassociateoftheAPGRD.
TiphaineKarsenti isAssistantProfessorinPerformanceStudiesatParisNanterreUniversity.SheisaspecialistinFrenchtheatreoftheearlymodern periodandauthorof LeMythedeTroiedanslethéâtrefrançais,1562–1715 (2012).Sheisco-organizer,withCécileDudouyt,oftheAPGRD/HARannual jointcolloquium.
MargaretKean istheDameHelenGardnerFellowandTutorinEnglishat StHilda’sCollege,Oxford.HerresearchfocusesontheworksofJohnMilton, JohnDryden,earlymoderntheatre,theepictraditionanditsreception history.Shealsohasateachinginterestinchildren’sliterature.Shehas recentlycompleted Inferno:ACulturalHistoryofHell (2018)andistheeditor of JohnMilton’sParadiseLost:ASourcebook (2005).
ClaireKenward isArchivistandResearcherattheAPGRD.Herpublications include ‘TheReceptionofGreekDramainEarlyModernEngland’ in AHandbooktotheReceptionofGreekDrama (2016)and ‘SightstoMakean Alexander?ReadingHomerontheEarlyModernStage’ in HomerandGreek TragedyinEarlyModernEngland’sTheatres:SpecialIssueofClassicalReceptionsJournal (2017).Forthcomingpublicationsfocusonthereceptionof HecubaandHomer’ s Iliad inscience fictionandspeculativefantasy.Claire isalsoco-authorandcuratoroftheAPGRD’stwomultimedia,interactive ebooks: Medea APerformanceHistory (2016),and Agamemnon APerformanceHistory (2019).
RobinKirkpatrick isEmeritusProfessorofItalianandEnglishLiteratureat theUniversityofCambridge.AswellasaversetranslationofDante’ s The DivineComedy (Penguin,2012),hehaswrittenanumberofbooksonDante andontheRenaissance,including The EuropeanRenaissance,1400–1600 (2002)and EnglishandItalianLiteraturefromDantetoShakespeare: AStudyofSource,Analogue,andDivergence (1995).
FionaMacintosh isProfessorofClassicalReception,DirectorofAPGRD,and FellowofStHilda’sCollege,Oxford.Sheistheauthorof DyingActs:Ancient GreekandModernIrishTragicDrama(1994), GreekTragedyandtheBritish Theatre 1660–1900(withEdithHall,2005),and Sophocles’ OedipusTyrannus (2009).ThisistheseventhAPGRDvolumethatshehasedited.
JustineMcConnell isLecturerinComparativeLiteratureatKing’sCollege London.Sheisauthorof BlackOdysseys:TheHomericOdysseyintheAfrican Diasporasince1939 (2013),andco-editorofthreevolumes: AncientSlavery andAbolition:fromHobbestoHollywood (2011), TheOxfordHandbookof GreekDramaintheAmericas (2015),and AncientGreekMythinWorld Fictionsince1989 (2016).
PantelisMichelakis isReaderinClassicsattheUniversityofBristol.Heisthe authorof GreekTragedyonScreen (2013), Euripides’ IphigeniaatAulis (2006), and AchillesinGreekTragedy (2002).Hehasalsoco-edited TheAncient WorldinSilentCinema (2013), AgamemnoninPerformance,458 BC to AD 2004 (2005),and Homer,TragedyandBeyond:EssaysinHonourof P.E.Easterling (2001).HeisamemberoftheAPGRDAdvisoryBoard.
LauraMonrós-Gaspar isAssociateProfessorofEnglishandHeadoftheArea ofPerformingArtsattheUniversitatdeValència.SheisalsoaResearch AssociateoftheAPGRD.Sheistheauthorof VictorianClassicalBurlesques. ACriticalAnthology (2015), CassandratheFortuneTeller:Prophets,Gipsies andVictorianBurlesque (2011),andvariousarticlesandbookchapterson Victorianliteratureandculture.
FrederickNaerebout isLecturerinAncientHistoryatLeidenUniversity.His researchcentresonGreekandRomanreligion,especiallythenon-verbal aspectsofritual(dance),andonculturalcontact,especiallywithinHellenistic kingdomsandtheRomanEmpire.Thereceptionoftheancientworldis anothermajorresearcharea.
GeorginaPaul isAssociateProfessorofGermanattheUniversityofOxford andFellowandTutorinGermanatStHilda’sCollege,Oxford.Sheisauthorof PerspectivesonGenderinPost-1945GermanLiterature (2009)andeditorof AnOdysseyforOurTime:BarbaraKöhler’sNiemandsFrau (2013).
EmilyPillinger isLecturerinLatinLanguageandLiteratureintheDepartmentofClassicsatKing’sCollegeLondon.Shehaswrittenonthesupernatural voicesofprophets,witches,andthedeadinthepoetryoftheancientworld, andherbook CassandraandthePoeticsofProphecyinGreekandLatin Literature isforthcoming(2019).Shehasalsopublishedonclassicalreception inmusicandiscurrentlyresearchingtheuseofGraeco-Romanmythand historyinmusiccomposedaftertheSecondWorldWar.
TanyaPollard isProfessorinEnglishatBrooklynCollegeandtheCUNY GraduateCentre,NewYork.Herbooksinclude GreekTragicWomenon ShakespeareanStages (2017), DrugsandTheaterinEarlyModernEngland (2005),Shakespeare’sTheater:ASourcebook (2004),andthreeco-edited collectionsofessays.
HenryPower isAssociateProfessorofEnglishattheUniversityofExeter.He specializesinEnglishliteratureoftheseventeenthandeighteenthcenturies andisauthorof EpicintoNovel: ScriblerianSatire,andtheConsumptionof ClassicalLiterature (2015), Homer’sOdyssey (2011), TheOxfordHandbookof EnglishProse,1640–1715 (withN.McDowell,2018).Onecurrentprojectison theHomerictranslationsofChristopherLogue.
DeanaRankin isSeniorLecturerinEnglishatRoyalHolloway,Universityof London.ShespecializesinEnglishandIrishLiteratureoftheearlymodern period.Herpublicationsinclude BetweenSpenserandSwift:EnglishWritingin Seventeenth-CenturyIreland (2005)andthe firstscholarlyeditionof Landgartha:ATragie-comedy byHenryBurnell(2013).
PatriceRankine isProfessorofClassicsandDeanoftheSchoolofArts& SciencesattheUniversityofRichmond.Heisauthorof UlyssesinBlack:Ralph Ellison,Classicism,andAfricanAmericanLiterature (2006),whichwasnamed in2007by Choice magazineasoneoftheoutstandingacademicbooksandis currentlyinitssecondprinting;and AristotleandBlackDrama:ATheaterof Disobedience (2013).Heisalsoco-editorof TheOxfordHandbookofGreek DramaintheAmericas (2015).
MargaretReynolds isProfessorofEnglishatQueenMary,Universityof London.Herpublicationsinclude TheSapphoHistory (2003),TheSappho Companion (2000),and(withAngelaLeighton) VictorianWomenPoets (1999). HercriticaleditionofElizabethBarrettBrowning’ s AuroraLeigh (1996)won theBritishAcademy’sRoseMaryCrawshayprize.SheisthepresenterofBBC Radio4’ s ‘AdventuresinPoetry’ .
TomSapsford isFellowattheCenterforBalletandtheArtsNYU,anEarly CareerAssociatewiththeAPGRD,andwaspreviouslyaLecturerinthe DepartmentofClassicsattheUniversityofSouthernCalifornia.Priortothe studyofClassics,Tomwasaprofessionaldancerandchoreographerworking withinstitutionssuchastheRoyalBallet,theRoyalOperaHouse,andthe InstituteofContemporaryArtsinLondon.
ArabellaStanger isLecturerinDrama:TheatreandPerformanceatthe UniversityofSussex.ShepreviouslyheldthepostofLecturerinDanceStudies attheUniversityofRoehamptonandreceivedherPhDandMAinTheatre andPerformancefromGoldsmiths,UniversityofLondon.Beforestudyingfor
List ofContributors
herBAinClassicalStudieswithEnglishLiteraturefromKing’sCollege London,Arabellatrainedprofessionallyinclassicalballetandcontemporary danceinLondon.Sheiscurrentlypreparingamonographonchoreographic spaceandisengagedinnewresearchprojectsonsabotage,andperformance andlight.
HenryStead isaLeverhulmeEarlyCareerResearchFellowinEnglishand ClassicalStudiesattheOpenUniversity,UK.Heisauthorof ACockney Catullus (2015)andco-editorof GreekandRomanClassicsintheBritish StruggleforSocialReform (2015).
TimSupple isamulti-award-winningBritishtheatredirector,whohasdirectedandadaptedtheatreacrosstheworld.Heisco-directorofDashArts,a companythatproducestheatre,dance,music,andarteventsincollaboration withartistsaroundtheworld.Hisrecentprojectsinclude TheTempest atThe NationalCentreforPerformingArtsinBeijing.
MarchellaWard recentlycompletedherdoctorateinClassicsatStHilda’ s College,Oxfordonblindnessandthetheatre.ShehasabackgroundinClassics andEnglishandiscurrentlyArchivistandResearcherattheAPGRD.In2017 shewasthespecialistresearcheronaBBCFourdocumentary,producedin partnershipwiththeRoyalShakespeareCompany, ‘OvidfromtheRSC:The World’sGreatestStoryteller’ .
DavidWiles isEmeritusProfessorofDramaattheUniversityofExeter,anda memberofWolfsonCollege,Oxford.Hespentmuchofhiscareerinthe DepartmentofDramaandTheatreatRoyalHolloway,beforemovingto Exeterin2013.HismajorareasofhistoricalinteresthavebeenGreekand Elizabethantheatre,andkeythemesinhisworkhavebeenfestival,mask,and space.His TheatreandCitizenship (2011)coveredabroadhistoricalspanwith afocusupontheFrenchEnlightenment.WithChristineDymkowski,he editedthe CambridgeCompaniontoTheatreHistory (2013).Heiscurrently workingonthehistoryofacting,morespecificallytherhetoricalmethod derivedfromantiquity.HehashadalongassociationwiththeAPGRD.
WesWilliams isProfessorofFrenchLiteratureattheUniversityofOxford. Hismainresearchinterestsareinthe fieldofearlymodernliterature:they encompassthestudyofgenreandofsubjectivity,andtheintersectionof medicine,law,andliteratureintheperiod.His firstbookwas Pilgrimage andNarrativeintheFrenchRenaissance: ‘TheUndiscoveredCountry (1998) andhismostrecentis MonstersandtheirMeaningsinEarlyModernCulture; ‘MightyMagic’ (2011).Currentlyworkingonthelong(andcontinuing) historyof ‘VoluntaryServitude’,healsoteachesEuropean filmandliterary theory,andwritesanddirectsforthetheatre.
NoteonNomenclature,Spelling,andTexts Forancienttextsandauthors,wehaveadoptedthestandardspellingsand abbreviationsin TheOxfordClassicalDictionary (4thedn.)andthecitations fromancientauthorsaretakenfromtheOxfordClassicalTextseditions, unlessotherwiseindicated.Translationsaretheauthor’sown,unlessstated. SpellingthroughoutisUK,unlessreferringtoaUSparticularplace/ institution.
I DefiningTerms 1 ‘Epic’ Performances FromBrechttoHomerandBack FionaMacintosh
DuringthecourseoftheAPGRD’sLeverhulme-funded ‘PerformingEpic’ project,epicperformancesprovidedthethemeforoneofthejointannual colloquiawiththe ‘Histoiresdesartsetdesreprésentations’ (HAR),Université deParis,Nanterre.¹Onthisparticularoccasion,thecross-disciplinarydialogueduringthecolloquiumproved,at first,surprisingandoccasionally disorienting;andittooksometimeforeveryonetorealizejusthowinstructive theinitialcrosstalkinfactwas.Itwastheterminologythatprovedastumbling blockhere:whilstfortheParis-basedperformancescholars/theatrehistorians, Brecht’ s ‘EpicTheatre’ wasself-evidentlywhat ‘performingepic’ meant,the Oxford-basedclassicistswerepuzzledto findthisparticularGermanplaywright/theoristprovidingthesubjectfordiscussion.
Brecht’sEpicTheatre,whichtheplaywrightdevelopedbothintheoryand practicefromthelate1920sonwards,mayhaveloomedlongandlargeonthe modernstage,eitherasmodelorasfoiltotheatrepractitionersandtheorists, butforclassicistsithasgenerallybeenregardedasmarginaltotheirconcerns.² AlthoughMartinRevermannhasrecentlydemonstratedhowmistakensuch
¹FordetailsoftheLeverhulmefunded ‘PerformingEpic’ project:<http://www.apgrd.ox.ac. uk/aboutus/research/performingepic>.AndfordetailsofthepartnershipwithHAR,see: <www.apgrd.ox.ac.uk/aboutus/aboutus/collaborations>.Thisvolumegrewoutofthreework shops,especiallythelasttwothatfocusedontheMiddleAgesto1800andfrom1800intothe twenty firstcenturyrespectively.AdditionalchaptersbeganlifeintheAPGRDlecture/seminar series(thosebySupple,Burrow,andPaul);otherswerenewlycommissioned(thosebyChoi, Crawley,Faia,Power,Karsenti,andWard).
²ThefullestaccountisBrecht’ s ‘NotesontheOpera RiseandFalloftheCityofMahagonny’ (1930),whichincludesthe first(andbestknown)schemaintabularformofEpicversus DramaticTheatre.Brecht(2015),6171.Fortheperspectiveofonepractitioner,seeSupple, Ch.4inthisvolume.Thestudiesbyclassicists,Silk(2001)andRevermann(2013)and(2016), aretheexceptionsthatprovetherule.
