Books like The Art of Ancient Greek Theater

Choosing five books that might be the most useful for anyone contemplating a revival of plays that were created for a single performance nearly two and a half thousand years ago is a daunting task, one I could have undertaken many times over.

While no practitioner would be recommended to try to recreate the original production, all would be advised not to ignore the circumstances which have contributed to the plays’ survival as living dramas.

Peter Arnott was rare among classicists in that his approach was primarily from a performance perspective.

He was himself a director of note, but also a puppeteer whose solo productions of Greek tragedies and comedies were a good introduction to the reality of masked performance to players and audiences in the huge performance spaces where the Athenian festivals were celebrated and where the playwrights explored the potential of their new medium.

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.

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. 

Inspired by Paolo Freire’s classic Pedagogy of the Oppressed, Brazilian dramatist and activist Augusto Boal makes active participants of audiences, staging oppressive interactions and then repeatedly re-staging them as “spect-actors” step up to intervene and remake the interaction. Anyone can join! A stunning synergy of empowering revolutionary theater and improvisational role-playing that has not even begun to be adapted to classrooms. You figure out why. Then figure out how to adapt and bring it on now.

If your rock star is a little shy about sharing her talents, she might relate to Bear. When it’s time to put on a show, Bear’s friends focus on making shiny tickets, sequined curtains, and very tall hats while Bear takes notes. As the title suggests, it’s up to Bear to actually figure out the show. As someone much more comfortable taking notes (and finding just the right pen and notebook first), I find Bear highly relatable.

This book is about a girl in a wheelchair who is cast in the middle school play. I love this book because it helps us understand the challenges of being in a wheelchair as well as all the challenges that go along with being a middle schooler. It addresses all those identity issues that occur during that age with the added challenge of being in a wheelchair.

For a general overview of Japanese theatre, and more broadly Japanese culture, readers are encouraged to have a look through A History of Japanese Theatre edited by Jonah Salz. This encyclopaedic collection of essays by scholars on Japanese theatre history offers a rich and thorough survey of Japanese theatre for a wide readership. From ancient Noh theatre to Kabuki and Bunraku to modern literary theatre to critical theatre and performance, readers can glean how the performing arts have developed throughout Japanese history. As the book weaves together some of the intellectual concerns and artistic reflections of prominent artists in their forms, we can grasp interwoven historical patterns which continue from antiquity to the present.

This lavishly illustrated book offers a visually stunning and information-packed tour of ancient Rome’s most popular forms of entertainment: chariot racing, gladiatorial combats, and theater performances. I was astonished by the sheer range and creativity of Roman spectacles and their material commemorations, from action figures of gladiators with removable helmets, piggy banks with pictures of lucky winning charioteers, and mosaic puzzles that challenged viewers to guess the names of famous racehorses based on visual clues. As an art historian, I particularly love the beautiful color illustrations; my own copy of this book is dog-eared because I am constantly returning to look at the fascinating objects she discusses. For me, this book about spectacles is spectacular in its own right.