The lesser festivals the great or city Dionysia the actors the costumes the chorus the audience the artists of Dionysus.

/pdf/la-tragedia-griega-perdida-una-valoracion-de-conjunto-41ogqwhf0y.pdf

The dramatic festivals of Athens

La tragedia griega perdida: una valoración de conjunto.

I want to present here one of the plays studied in my doctorate, which hadas theme the poetry (the song) and the spectacle in Greek tragedy, with Euripides infocus of the presented reflections. In this present article, I detach the relation of theprologue scene (vv. 1-120) consisting of a monologue uttered by Aphrodite (vv. 1-57),followed by a coral song to Artemis lead by Hippolytus (vv. 58-71), a monologue ofHippolytus (a prayer to Artemis) and a dialogue of Hippolytus with a servant (vv. 73-120) in contrast to the final scenes – forth and last episode (vv. 1153-1267); the laststasimon, a hymn to Aphrodite sung by the chorus of Troizen married women (vv.1268-82), followed by the exodus (vv. 1283-1466).

/pdf/canto-e-espetaculo-na-tragedia-grega-as-cenas-finais-de-1r1l6mx5sl.pdf

Canto e espetáculo na tragédia grega: as cenas finais de hipólito de eurípides

This article deals with the ‘problem’ of the death in Alceste, a euripidian tragedy. It is discussed its fine ambiguity, its worth for present time and its meaning. Particular attention is called upon the singularity of the genre of the play. Our reading flows from the idea that it is impossible to establish the play’s genre as tragic, tragicomic or satirical. We also investigate the presence of laugh in this tragedy.

Alceste, de eurã?pides: seria a morte um erro da natureza?

/pdf/katharsis-and-tragic-pathos-3wvyvbfals.pdf

Katharsis and Tragic Pathos

All occasions during which ancient Greek lyric was performed, were originally and intrinsically embedded in religious ceremony, but certain lyric forms were addressed more directly to some divine being in whose honour the ceremony was being performed. The spatial context of this kind of lyric performance was mostly a public gathering of officials and populace, and the content (references to ritual and myth), form and manner of performance (generally choral odes performed by a chorus of singer-dancers, accompanied by an ensemble of flutes and/or lyres, and percussion instruments) reflect this more ‘religious' and public nature. This broad characterisation cannot, however, be applied rigidly and consistently to the surviving poetic texts. In this article, which surveys the various forms of this kind of lyric, 'religious' is interpreted as ‘in honour o f a divine being' as opposed to a mortal being.

/pdf/die-antieke-griekse-religieuse-liriek-1uz5r949op.pdf

The dramatic festivals of Athens

Citations

La tragedia griega perdida: una valoración de conjunto.

Canto e espetáculo na tragédia grega: as cenas finais de hipólito de eurípides

Alceste, de eurã?pides: seria a morte um erro da natureza?

Katharsis and Tragic Pathos

Die antieke Griekse ‘religieuse’ liriek

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