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Laddar... The Senecan Aesthetic: A Performance History (Classical Presences)av Helen Slaney
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The horror, rhetoric, and delirium of Senecan tragedy offered a blueprint for later writers in their conception of tragedy and the aesthetics of tragic drama. Slaney’s fine monograph investigates how certain exemplary Senecan features (excess, metatheatre, etc.) resonate in theatrical performances from the sixteenth to the twentieth century. This is a book bursting with smart ideas, rendered in sophisticated prose. Slaney scrutinizes the performance history of senecan tragedy and finds the various ways in which the interplay between dramatic texts and auditors/spectators has been influenced by the senecan aesthetic. Her conclusion to the third chapter may be seen as a précis for the book as a whole: “The senecan aesthetic is most powerfully apparent in moments at which the verbal and vocal vectors of theatrical experience collide, where the body of the performer is at once producer and referent of language, vocal source, and visual target” (p. 132). Ingår i förlagsserien
"Alongside the works of the better-known classical Greek dramatists, the tragedies of Lucius Annaeus Seneca have exerted a profound influence over the dramaturgical development of European theatre. 'The Senecan Aesthetic' surveys the multifarious ways in which Senecan tragedy has been staged, from the Renaissance up to the present day: plundered for neo-Latin declamation and seeping into the blood-soaked revenge tragedies of Shakespeare's contemporaries, seasoned with French neoclassical rigour, and inflated by Restoration flamboyance. In the mid-18th century, the pincer movement of naturalism and philhellenism began to squeeze Seneca off the stage until August Wilhelm Schlegel's shrill denunciation silenced what he called its 'frigid bombast'. The Senecan aesthetic, repressed but still present, staged its return in the twentieth century in the work of Antonin Artaud, who regarded Seneca as "the greatest tragedian of history." This volume restores Seneca to a canonical position among the playwrights of antiquity, recognizing him as one of the most important, most revered, and most reviled, and in doing so reveals how theory, practice, and scholarship have always been interdependent and inseparable." Inga biblioteksbeskrivningar kunde hittas. |
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