- Table View
- List View
Blood Relations: Christian and Jew in The Merchant of Venice
by Janet AdelmanIn Blood Relations, Janet Adelman confronts her resistance to The Merchant of Venice as both a critic and a Jew. With her distinctive psychological acumen, she argues that Shakespeare’s play frames the uneasy relationship between Christian and Jew specifically in familial terms in order to recapitulate the vexed familial relationship between Christianity and Judaism. Adelman locates the promise—or threat—of Jewish conversion as a particular site of tension in the play. Drawing on a variety of cultural materials, she demonstrates that, despite the triumph of its Christians, The Merchant of Venice reflects Christian anxiety and guilt about its simultaneous dependence on and disavowal of Judaism. In this startling psycho-theological analysis, both the insistence that Shylock’s daughter Jessica remain racially bound to her father after her conversion and the depiction of Shylock as a bloody-minded monster are understood as antidotes to Christian uneasiness about a Judaism it can neither own nor disown. In taking seriously the religious discourse of The Merchant of Venice, Adelman offers in Blood Relations an indispensable book on the play and on the fascinating question of Jews and Judaism in Renaissance England and beyond.
Blood Relations: Christian and Jew in The Merchant of Venice
by Janet AdelmanIn Blood Relations, Janet Adelman confronts her resistance to The Merchant of Venice as both a critic and a Jew. With her distinctive psychological acumen, she argues that Shakespeare’s play frames the uneasy relationship between Christian and Jew specifically in familial terms in order to recapitulate the vexed familial relationship between Christianity and Judaism. Adelman locates the promise—or threat—of Jewish conversion as a particular site of tension in the play. Drawing on a variety of cultural materials, she demonstrates that, despite the triumph of its Christians, The Merchant of Venice reflects Christian anxiety and guilt about its simultaneous dependence on and disavowal of Judaism. In this startling psycho-theological analysis, both the insistence that Shylock’s daughter Jessica remain racially bound to her father after her conversion and the depiction of Shylock as a bloody-minded monster are understood as antidotes to Christian uneasiness about a Judaism it can neither own nor disown. In taking seriously the religious discourse of The Merchant of Venice, Adelman offers in Blood Relations an indispensable book on the play and on the fascinating question of Jews and Judaism in Renaissance England and beyond.
Utopian Drama: In Search of a Genre (Methuen Drama Engage)
by Siân AdiseshiahAs the first full-length study to analyse utopian plays in Western drama from antiquity to the present, Utopian Drama: In Search of a Genre offers an illuminating appraisal of the objectives of utopianism as manifested in drama through the ages, and carefully ascertains the added value that live performance brings to the persuasion of utopian thought. Siân Adiseshiah scrutinises the distinctive intervention of utopian drama through its examination alongside the utopian prose tradition – in this way, the book establishes new ways of approaching utopian aesthetics and new ways of interpreting utopian drama. This book provides fresh understandings of the generic features of utopian plays, identifies the gains of establishing a new genre, and ascertains ways in which this genre functions as political theatre. Referring to over 40 plays, of which 18 are examined in detail, Utopian Drama traces the emergence of the utopian play in the Western tradition from ancient Greek Comedy to experimental contemporary work. Works discussed in detail include plays by Aristophanes, Margaret Cavendish, George Bernard Shaw, Howard Brenton, Claire MacDonald, Cesi Davidson, and Mojisola Adebayo. As well as offering extended attention to the work of these playwrights, the book reflects on the development of utopian drama through history, notes the persistent features, tropes, and conventions of utopian plays, and considers the implications of their registration for both theatre studies and utopian studies.
Utopian Drama: In Search of a Genre (Methuen Drama Engage)
by Siân AdiseshiahAs the first full-length study to analyse utopian plays in Western drama from antiquity to the present, Utopian Drama: In Search of a Genre offers an illuminating appraisal of the objectives of utopianism as manifested in drama through the ages, and carefully ascertains the added value that live performance brings to the persuasion of utopian thought. Siân Adiseshiah scrutinises the distinctive intervention of utopian drama through its examination alongside the utopian prose tradition – in this way, the book establishes new ways of approaching utopian aesthetics and new ways of interpreting utopian drama. This book provides fresh understandings of the generic features of utopian plays, identifies the gains of establishing a new genre, and ascertains ways in which this genre functions as political theatre. Referring to over 40 plays, of which 18 are examined in detail, Utopian Drama traces the emergence of the utopian play in the Western tradition from ancient Greek Comedy to experimental contemporary work. Works discussed in detail include plays by Aristophanes, Margaret Cavendish, George Bernard Shaw, Howard Brenton, Claire MacDonald, Cesi Davidson, and Mojisola Adebayo. As well as offering extended attention to the work of these playwrights, the book reflects on the development of utopian drama through history, notes the persistent features, tropes, and conventions of utopian plays, and considers the implications of their registration for both theatre studies and utopian studies.
debbie tucker green: Critical Perspectives
by Siân Adiseshiah Jacqueline BoltonThis long-awaited book is the first full-length study of the work of the extraordinary contemporary black British playwright, debbie tucker green. Covering the period from 2000 (Two Women) to 2017 (a profoundly affectionate, passionate devotion to someone (-noun)), it offers scholars and students the opportunity to engage in cutting-edge critical debate engendered by tucker green’s innovative dramatic works for stage, television, and radio. This groundbreaking book includes contributions by a range of outstanding scholars, including black playwriting specialists, world-leading contemporary theatre scholars and some of the very best emerging researchers in the field. While always focused on the precision and detail of tucker green’s work, this book simultaneously reframes broader debates around contemporary drama and its politics, poses new questions of theatre, and provokes scholarly thinking in ways that, however obliquely, contribute to the change for which the plays agitate.
Twenty-First Century Drama: What Happens Now
by Siân Adiseshiah Louise LePageWithin this landmark collection, original voices from the field of drama provide rich analysis of a selection of the most exciting and remarkable plays and productions of the twenty-first century. But what makes the drama of the new millenium so distinctive? Which events, themes, shifts, and paradigms are marking its stages? Kaleidoscopic in scope, Twenty-First Century Drama: What Happens Now creates a broad, rigorously critical framework for approaching the drama of this period, including its forms, playwrights, companies, institutions, collaborative projects, and directors. The collection has a deliberately British bent, examining established playwrights – such as Churchill, Brenton, and Hare – alongside a new generation of writers – including Stephens, Prebble, Kirkwood, Bartlett, and Kelly. Simultaneously international in scope, it engages with significant new work from the US, Japan, India, Australia, and the Netherlands, to reflect a twenty-first century context that is fundamentally globalized. The volume’s central themes – the financial crisis, austerity, climate change, new forms of human being, migration, class, race and gender, cultural politics and issues of nationhood – are mediated through fresh, cutting-edge perspectives.
The Methuen Drama Book of New American Plays: Stunning; The Road Weeps, the Well Runs Dry; Pullman, WA; Hurt Village; Dying City; The Big Meal (Play Anthologies)
by David Adjmi Marcus Gardley Young Jean Lee Katori Hall Christopher Shinn Dan LeFranc Sarah BensonThe Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.
The Methuen Drama Book of New American Plays: Stunning; The Road Weeps, the Well Runs Dry; Pullman, WA; Hurt Village; Dying City; The Big Meal (Play Anthologies)
by David Adjmi Marcus Gardley Young Jean Lee Katori Hall Christopher Shinn Dan LeFranc Sarah BensonThe Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.
The Methuen Drama Guide to Contemporary American Playwrights (Guides to Contemporary Drama)
by Tom Adler Scott T. Cummings Jochen Achilles Ken Urban Klaus Benesch Russell Vandenbroucke James Fisher Jill S. Dolan Christopher Innes Toby Zinman Susan Abbotson Annalisa Brugnoli Ilka Saal Aurélia Sanchez Deborah GeisThe Methuen Drama Guide to Contemporary American Playwrights is an authoritative single-volume guide to the work of twenty-five American playwrights from the second half of the twentieth century, written by a team of twenty-five eminent scholars from the United States, Canada, Britain, Germany and Ireland contributing individual studies to the work of each playwright. Each of the twenty-five chapters provides: a biographical introduction to the playwright and their work; a survey and concise analysis of each of the writer's published plays; a discussion of their style, dramaturgical concerns and the critical reception; and a full bibliography of published plays, listing of premieres and a select list of critical works.Among the many Tony, Obie and Pulitzer prize-winning playwrights included are Sam Shepard, Tony Kushner, Suzan-Lori Parks, August Wilson, Paula Vogel, Tracey Letts and Neil LaBute, besides many more. Unrivalled in its coverage of recent work and writers, this collection surveys and analyses the breadth, vitality and development of theatrical work to emerge from America over the last fifty years.
The Methuen Drama Guide to Contemporary American Playwrights (Guides to Contemporary Drama)
by Tom Adler Scott T. Cummings Jochen Achilles Ken Urban Klaus Benesch Russell Vandenbroucke James Fisher Jill S. Dolan Christopher Innes Toby Zinman Susan Abbotson Annalisa Brugnoli Ilka Saal Aurélia Sanchez Deborah Geis Annette J. Saddik Jorge Huerta Joanna Mansbridge Pia Wiegmink Frazer Lively Sandra G. Shannon Birgit Daewes Peter Paul Schnierer Martin Middeke Katherine Weiss Kerstin Schmidt Matthew C. RoudanéThe Methuen Drama Guide to Contemporary American Playwrights is an authoritative single-volume guide to the work of twenty-five American playwrights from the second half of the twentieth century, written by a team of twenty-five eminent scholars from the United States, Canada, Britain, Germany and Ireland contributing individual studies to the work of each playwright. Each of the twenty-five chapters provides: a biographical introduction to the playwright and their work; a survey and concise analysis of each of the writer's published plays; a discussion of their style, dramaturgical concerns and the critical reception; and a full bibliography of published plays, listing of premieres and a select list of critical works.Among the many Tony, Obie and Pulitzer prize-winning playwrights included are Sam Shepard, Tony Kushner, Suzan-Lori Parks, August Wilson, Paula Vogel, Tracey Letts and Neil LaBute, besides many more. Unrivalled in its coverage of recent work and writers, this collection surveys and analyses the breadth, vitality and development of theatrical work to emerge from America over the last fifty years.
Animal (Oberon Modern Plays Ser.)
by Kay AdsheadAt the heart of a London Park there is a beautiful house. Inside, the raging Pongo has volunteered for an anger management drug trial. But isn’t anger vital to our humanity?Set in a mythical England against ongoing war and civil insurrection, Animal is a dark and funny tale of humanity’s struggle for progress. In this millennium, will we choose to be Animals or Angels? Animal opened at The Soho Theatre and New Writing Centre, London, on 4th September 2003 before embarking on a National tour.
Bites (Oberon Modern Plays Ser.)
by Kay AdsheadMoving from the biggest democracy on the planet to the newest, Bites takes us back to Afghanistan via Texas. In the last diner at the end of a world ravaged by war, a menu of love, death and revenge is served by the ‘hired help'. Seven courses make for a poetic feast of universal tales looking back to the forgotten war and forward to a nightmarish future.Produced at the Bush Theatre, London in January 2005 (Mama Quillo in association with The Bush).
The Bogus Woman (Oberon Modern Plays)
by Kay AdsheadA young woman arrives in a strange country. A woman who has committed no crime. She is indefinitely confined, humiliated and racially and sexually abused. She witnesses her guards’ petty dishonesty and casual brutality. She sees innocents scapegoated and worst of all she hears the authorities lie and lie again. The country is England. It is 1997.The Bogus Woman was produced at the Traverse Theatre, Edinburgh in 2000 and at the Bush Theatre, London in 2001.
Bones (Oberon Modern Plays Ser.)
by Kay AdsheadWhite people in their big shiny cars drive many kilometres with their sickness which I heal; sickness of the mind, body and of the soul. I charge a bit more for the soul' At night, a young black boy is 'questioned' by a white South African policeman…..36 years later, when the truth is dug up, a tortured Jennifer watches over her dying husband. But does her maid Beauty have the power to 'save' him, and is the price of remembering a dreadful secret one that Jennifer is prepared to pay?Bones is a ruthless excavation of South Africa in 2005, and in an age of threats, retribution and bloody revenge, it is an anthem for hope. A production directed by Adshead opened at the Bush Theatre in October 2006.
The Singing Stones (Oberon Modern Plays)
by Kay Adshead‘You can always tell a dictator by his roots. They all dye their hair that dodgy soot black. The minute they do, they should be frogmarched off and lynched in the public square. That simple pre-emptive action would save several genocides!’ In 2011, all over the Arab world, women took to the streets to protest and bring about change. Briefly celebrated, then derided, and finally ignored and denied, their amazing stories remain untold. Until now. The Singing Stones is a triad of short plays, each offering a poetic, fearless and sometimes funny exploration of women and the Arab revolutions. From the heroines of Tahrir Square to the female fighting forces defending the borders of Kurdistan, from the women who snitched on Gaddafi to a band of quarrelling artists struggling to invent a future female revolutionary icon. Was the Arab Spring the greatest missed opportunity of the 21st century?
The Oikos Project: Oikos And Protozoa (Oberon Modern Playwrights)
by Kay Adshead Simon WuThe Oikos Project and the two plays Oikos and Protozoa are an attempt to take responsibility for creating a different future in relation to the coming threat of climate change. Can we createa future based less on material gain and more on being in sympathy with our only planet?OIKOS Salil, a highly-successful businessman, has it all worked out: career, family, river-view des-res in Chiswick and a beautiful mistress. So why is he increasingly haunted by ghosts from the Old Country? When the Thames bursts its banks and his family scramble to keep their heads above water, the very foundations of his perfect life are threatened and Salil is forced to look to both his future and his past for redemption.PROTOZOA When the United Kingdom disappears in The Floods, Cordelia is determined to rebuild her grand house at any cost. When Sheann emerges half dead from the black waters, she will do anything to find her lost child. In this strange, formless new world, Inspector John Hall, born again out of the mud and slurry, will stop at nothing to ensure the survival of his citizens. If civilisation was to disappear tomorrow, how would we rebuild it? As Cordelia, Sheann and Hall’s lives collide in a volatile, repressive and increasingly familiar world, who are the women on the other side of the shrinking, fetid river who watch and wait?
Dance History: An Introduction
by Janet Adshead-Lansdale June LaysonOriginally published in 1983 the first edition rapidly established itself as a core student text. Now fully revised and up-dated it remains the only book to address the rationale, process, techniques and methodologies specific to the study of dance history. For the main body of the text which covers historical studies of dance in its traditional and performance contexts, the editors have brought together a team of internationally known dance historians. Roger Copeland and Deborah Jowitt each take a controversial look at the modern American dance. Kenneth Archer and Millicent Hodson explain the processes they use when reconstructing 'lost' ballets, and Theresa Buckland and Georgina Gore write on traditional dance in England and West Africa respectively. With other contributions on social dance, ballet, early European modern dance and feminist perspectives on dance history this book offers a multitude of starting points for studying dance history as well as presenting examples of dance writing at its very best. Dance History will be an essential purchase for all students of dance.
Dance History: An Introduction
by Janet Adshead-Lansdale June LaysonOriginally published in 1983 the first edition rapidly established itself as a core student text. Now fully revised and up-dated it remains the only book to address the rationale, process, techniques and methodologies specific to the study of dance history. For the main body of the text which covers historical studies of dance in its traditional and performance contexts, the editors have brought together a team of internationally known dance historians. Roger Copeland and Deborah Jowitt each take a controversial look at the modern American dance. Kenneth Archer and Millicent Hodson explain the processes they use when reconstructing 'lost' ballets, and Theresa Buckland and Georgina Gore write on traditional dance in England and West Africa respectively. With other contributions on social dance, ballet, early European modern dance and feminist perspectives on dance history this book offers a multitude of starting points for studying dance history as well as presenting examples of dance writing at its very best. Dance History will be an essential purchase for all students of dance.
Shakespeare's Violated Bodies: Stage And Screen Performance (PDF)
by Pascale AebischerThis study looks at the violation of bodies in Shakespeare's tragedies, especially as revealed (or concealed) in performance on stage and screen. Pascale Aebischer discusses stage and screen performances of Titus Andronicus, Hamlet, Othello and King Lear with a view to showing how bodies which are virtually absent from both playtexts and critical discourse (due to silence, disability, marginalisation, racial otherness or death) can be prominent in performance, where their representation reflects the cultural and political climate of the production. Aebischer focuses on post-1980 Royal Shakespeare Company and Royal National Theatre productions but also covers film adaptations and landmark productions from the nineteenth century onwards. Her book will interest scholars and students of Shakespeare, gender, performance and cultural studies.
Shakespeare and the 'Live' Theatre Broadcast Experience
by Pascale Aebischer Susanne Greenhalgh Laurie OsborneThis ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a 'live' or 'as-live' theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare's continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors' performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the 'presentness' and 'liveness' of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the 'live' theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.
Shakespeare and the 'Live' Theatre Broadcast Experience
by Pascale Aebischer Susanne Greenhalgh Laurie OsborneThis ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a 'live' or 'as-live' theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare's continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors' performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the 'presentness' and 'liveness' of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the 'live' theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.
Die Theatralität der Performance: Verhandlungen von »Theater« im US-amerikanischen Performancediskurs (Theater #126)
by Vivien AehligPerformance und Performativität sind zentrale Begriffe der deutschsprachigen Theater-, Kunst- und Kulturwissenschaften. Die für ihr Begriffsverständnis maßgebliche US-amerikanische Theoriebildung wurde bisher aber nur selektiv rezipiert. Vivien Aehlig stellt diesen Performance-Diskurs nun erstmals für ein deutschsprachiges Publikum umfassend vor: von den Universitäten über die Kunstszene und die politischen Debatten bis hin zur theoretischen Auseinandersetzung. Dabei zeigt sie, dass sich der Performance-Diskurs in ständigem Bezug auf Vorstellungen von Theater und Theatralität entfaltet und dieses Wechselverhältnis für die Performativitätstheorie entscheidend ist.
Shakespeare in the Changing Curriculum (Routledge Revivals)
by Lesley Aers Nigel WhealeFirst published in 1991, Shakespeare in the Changing Curriculum provides a context for debates about the place of Shakespeare within the English curriculum in the 1990s, and examines the possibilities in teaching Shakespeare afforded by the application of contemporary critical approaches, such as communication, cultural and gender studies, in the classroom and seminar room. The collection will be of particular to interest to sixth-form students, secondary school teachers, teacher trainers and students and lecturers in further and higher education.
Shakespeare in the Changing Curriculum (Routledge Revivals)
by Lesley Aers Nigel WhealeFirst published in 1991, Shakespeare in the Changing Curriculum provides a context for debates about the place of Shakespeare within the English curriculum in the 1990s, and examines the possibilities in teaching Shakespeare afforded by the application of contemporary critical approaches, such as communication, cultural and gender studies, in the classroom and seminar room. The collection will be of particular to interest to sixth-form students, secondary school teachers, teacher trainers and students and lecturers in further and higher education.
Aeschylus I: The Persians, The Seven Against Thebes, The Suppliant Maidens, Prometheus Bound (The Complete Greek Tragedies)
by AeschylusAeschylus I contains “The Persians,” translated by Seth Benardete; “The Seven Against Thebes,” translated by David Grene; “The Suppliant Maidens,” translated by Seth Benardete; and “Prometheus Bound,” translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.