(see the separate page for APGRD staff members)
Peter Brown was Fellow and Tutor in Classics at Trinity College, Oxford from 1968 to 2011 and is now an Emeritus Fellow there. He has published extensively on both Greek and Roman Comedy, and his translation of Terence: The Comedies for the Oxford World's Classics series was reissued in 2009. He is currently working on a commentary on Terence's Andria for Aris & Phillips. He supervises the APGRD's opera data and was co-editor with Suzana Ograjenšek of the APGRD publication Ancient Drama in Music for the Modern Stage (Oxford University Press, 2010) (especially appropriate as he is a keen amateur singer). Peter Brown's publications (PDF).
Felix Budelmann came to the University of Oxford in 2008 after teaching at the University of Manchester and the Open University and is now a Tutorial Fellow of Magdalen College at Oxford. He is the author of The Language of Sophocles (Cambridge, 2000) and editor of the The Cambridge Companion to Greek Lyric (Cambridge, 2009). He has worked on the reception of Greek tragedy in various periods and places, including Africa in particular. He is currently working on a commentary on selections from Greek lyric poetry and is in the early stages of a tentative project exploiting cognitive science for the study of Greek tragedy. Felix Budelmann's publications (PDF).
Erika Fischer-Lichte is Professor of Theatre Studies at the Freie Universität Berlin. From 1995 to 1999 she was President of the International Federation for Theatre Research. She is a member of the Academia Europaea, the Academy of Sciences at Goettingen, the Berlin-Brandenburg Academy of Sciences, and the National Academy of Sciences Leopoldina at Halle. She is director of the International Research Centre for Advanced Studies on 'Interweaving Performance Cultures'. She has published widely in the fields of aesthetics, theory of literature, art, and theatre, in particular on semiotics and performativity, theatre history, and contemporary theatre. Among her numerous publications are Global Ibsen: Performing Multiple Modernities (2010), The Transformative Power of Performance: A New Aesthetics (2008, German 2004), Theatre, Sacrifice, Ritual: Exploring Forms of Political Theatre (2005), History of European Drama and Theatre (2002, German 1990), The Show and the Gaze of Theatre: A European Perspective (1997), The Semiotics of Theatre (1992, German 1983), and The Dramatic Touch of Difference: Theatre, Own and Foreign (1990).
Helene P. Foley
Helene P. Foley is Professor of Classics at Barnard College, Columbia University. She has served as President of the American Philological Association and as a Senior Fellow at the Center for Hellenic Studies in Washington D.C. She was elected to the American Academy of Arts and Sciences in 2008. She has received Guggenheim, National Endowment for the Humanities, American Council of Learned Societies, Loeb Foundation, and Institute for Advanced Study (at Princeton) fellowships as well as three teaching awards. She is the author of Ritual Irony: Poetry and Sacrifice in Euripides (1985), The Homeric Hymn to Demeter (1994), and Female Acts in Greek Tragedy (2001) and co-author with Elaine Fantham, Natalie Kampen, Sarah Pomeroy, and Alan Shapiro, of Women in the Classical World: Image and Text (1994). She edited Reflections of Women in Antiquity (1982) and co-edited Visualizing the Tragic: Drama, Myth and Ritual in Greek Art and Literature (2007). She has most recently completed a book version of her Sather Classical Lectures at University of California, Berkeley on the reception of Greek tragedy on the U.S. stage and has co-edited with Erin Mee a book on global performances of Sophocles’ Antigone entitled Antigone on the Contemporary World Stage (2011).
Edith Hall is Professor of Classics at King's College London. She was previously Research Professor in Classics and in Drama & Theatre at Royal Holloway University of London, Leverhulme Chair of Greek Cultural History at the University of Durham, 2001-2006, and Tutorial Fellow at Somerville College, Oxford, 1995-2001). Her publications include Inventing the Barbarian: Greek Self-Definition Through Tragedy(1989), and an edition of Aeschylus' Persians (1996). She also regularly writes in the Times Literary Supplement and reviews theatre productions on radio. She has recently, with Fiona Macintosh, written Greek Tragedy and the British Theatre, 1660-1914 (2005). Edith Hall's CV and publications (PDF). More information about Edith's research interests and published works can be found on her home page.
Stephen Harrison has been a teaching / tutorial Fellow of Corpus Christi College at Oxford since 1987 and is now also Professor of Latin Literature at Oxford. He has published extensively on Roman poetry, especially epic and lyric, and on the ancient novel, and he is particularly interested in the reception of these genres in later literature and in performance. He is editor of Living Classics: Greece and Rome in Contemporary Poetry in English (OUP, 2009) and is co-editing volumes on receptions of the ancient novel, on the classical radio plays of Louis MacNeice and on the 'democratic turn' in contemporary classical reception. Stephen Harrison's CV and publications.
Pantelis Michelakis has been Research Fellow and then Honorary Research Fellow at the APGRD from 1998-2009. Since 2003 he has been at the University of Bristol where he is Senior Lecturer in the Department of Classics & Ancient History. He is the author of Achilles in Greek Tragedy (CUP 2002) and A Companion to Euripides' Iphigenia at Aulis (Duckworth 2006), and co-editor of Homer, Tragedy and Beyond: Essays in Honour of P.E. Easterling (Society for the Promotion of Greek Studies 2001) and Agamemnon in Performance, 458 BC to AD 2004 (OUP 2005). He is currently working on the reception of Greek tragedy on the modern stage and on screen. Pantelis Michelakis' publications.
Scott Scullion, who is a native of Toronto in Canada, has been a Tutorial Fellow of Worcester College at Oxford since December 2003. He has written a book, Three Studies in Athenian Dramaturgy (1994), on the fifth-century theatre in Athens and the performance of early tragedy, and a number of articles on tragedy, on Greek religion, on the relationship between tragedy and religion, and on problems in the chronology and history of Greek drama. As a graduate student at Harvard, he wrote a verse translation of Sophocles' Ajax for a new production; and performance of ancient drama, both ancient and modern, has remained among his central interests. He is at work on an introductory book on Euripides for Blackwell and on a sourcebook and articles on aspects of Greek religion, including the cult of Dionysus. Scott Scullion's publications (PDF).
Oliver Taplin was Tutorial Fellow of Magdalen College at Oxford from 1973 to 2008; he was given the title of Professor in 1996. As an Emeritus Fellow and Professor, he remains actively involved with the APGRD and related projects. His books include The Stagecraft of Aeschylus (1977), Greek Tragedy in Action (1978), Comic Angels (1993), and Pots and Plays (Getty, 2007). He has always been concerned to disseminate interest in the ancient Greek world and in its reception. He has worked with productions in the theatre, including The Oresteia at the National Theatre (1980-1981), The Thebans at the RSC (1991-1992), and The Oresteia at the National Theatre (1999-2000). The APGRD combines his interests both in performance and in reception. Oliver Taplin's publications (PDF).
Ruth Webb is currently Professor of Greek at the Université Charles-de-Gaulle Lille 3 and a member of the UMR 8163, Savoirs, Textes, Langage. She has been Honorary Research Fellow in the Department of History, Classics and Archaeology at Birkbeck College, London and held teaching positions in the Department of Classics at Princeton (1994-2001), the Greek Department at the Université Paris X-Nanterre (2005-2008) and was most recently visiting Professor in the History of Art at Nanterre. She has also worked closely with the APGRD on the reception of ancient drama in Graeco-Roman antiquity. She has published Demons and Dancers: Performance in Late Antiquity (Harvard University Press, 2008) and Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice (Ashgate, 2009) in addition to many articles on rhetoric, theatre and dance in the Imperial period and in Late Antiquity.
Helen Eastman trained as a director at LAMDA after graduating from the University of Oxford where she was the Passmore Edwards Scholar in Classics and English. Helen is Visiting Lecturer in Contemporary Performance Practice at Westminster University, Artistic Director of Live Canon and Senior Reader at Soho Theatre. As a freelance director of theatre, opera (and occasionally circus), Helen has worked throughout the UK at venues including Trafalgar Studios, Hackney Empire, Belfast Opera House, Glasgow Citizens Theatre, Queens Theatre, BAC, The National Theatre Studio, The De La Warr Pavillion and Bath Theatre Royal.
Suzana Ograjenšek is a former APGRD research assistant and co-editor (with Peter Brown) of Ancient Drama in Music for the Modern Stage (2010), and Life Member and former Research Fellow at Clare Hall, Cambridge. She graduated with a PhD from Cambridge University on the subject of Handel and London opera in the 1720s. Afterwards she embarked on a professional singing career, specializing in baroque performance. For the APGRD, her group La Falsirena performed the recital Ah, qual s’apre al mio cor tragica scena, featuring arias from eighteenth-century tragic operas by Handel, Gluck, Bioni, Leo, Feo and Traetta. Suzana’s recent singing engagements include Monteverdi’s L’incoronazione di Poppea with William Christie at Teatro Real in Madrid and L’Orfeo with Ivor Bolton at Theater an der Wien in Vienna. She is currently completing the edition of the first version of Il pastor fido for the Hallische Händel-Ausgabe. www.suzanaograjensek.com
Honorary Research Associates
Professor Lorna Hardwick
Lorna Hardwick is Professor Emerita at the Open University. Her publications in the field of classical reception include Translating Words, Translating Cultures (2000) and New Surveys in the Classics; Reception Studies (2003) as well as a number of articles on drama and poetry. She has a particular interest in the impact of various kinds of translation and adaptation on modern perceptions of Greece and Rome and in the reworking of classical material in post-colonial contexts. She is, with Professor Jim Porter (University of Michigan) the Series Editor for the new series Oxford Studies in Classical Receptions: Classical Presences and is co-editor, with Dr Chris Stray (University of Swansea) of the Blackwell Companion to Classical Receptions (2008) and, with Carol Gillespie, of Classics in Post-colonial Worlds. She is editor of the Oxford Classical Receptions Journal (CRJ) which was launched at the end of 2009.
Laura Monrós-Gasparcompleted her thesis on the reception of the figure of Cassandra in Victorian England in 2009 (supervisors: Dr. Miguel Teruel and Prof. Carmen Morenilla, Universitat de València). In 2007 she was a visiting student at the APGRD under the supervision of Dr. Fiona Macintosh. Between 2008 and 2010 she was University Lecturer in English at the Universidad de Alicante in Spain. She now has a permanent Lectureship at the Universitat de València. In 2004 she became member of GRATUV (Grup de Recerca i Acció Teatral de la Universitat de València) directed by Prof. Carmen Morenilla, where she is now a Research Fellow. She is author of Cassandra the Fortune Teller: Prophets, Gipsies and Victorian Burlesque (Bari: Levante Editori, 2011).
Professor Reinhard Strohm
Reinhard Strohm is the Heather Professor of Music at the University of Oxford, and a Fellow of the British Academy. His research interests include 18th-century Italian opera, particularly of Handel and his contemporaries (recent publications: Dramma per Musica: Italian Opera Seria of the Eighteenth Century, New Haven and London: Yale University Press, 1997. The Eighteenth-Century Diaspora of Italian Music and Musicians, ed. R. Strohm, Turnhout: Brepols, 2001); late-medieval music and its social context (publications: Music as Concept and Practice in the Late Middle Ages, ed. R. Strohm and Bonnie J. Blackburn, Oxford University Press, 2001); modernist/postmodernist debates in musical historiography (publications: 'Looking back at ourselves: the problem with the musical work-concept', in The Musical Work. Reality or Invention?, ed. M. Talbot, Liverpool University Press, 2000, 128-52. 'Collapsing the dialectic: the enlightenment tradition in music and its critics', in Musicology and its Sister Disciplines: Past, Present and Future (Proceedings of the 16th International Congress of the International Musicological Society, London, 1997), ed. D. Greer, Oxford University Press, 2000, 263-272. ‘Postmodern thought and the history of music: some intersections' - Revista Portuguesa de Musicologia 9 (1999), 7-24). Current projects include: Classicism, Ideology, Utopia in the 17th and 18th centuries; 18th-century music and social history (iconography, local history, opera singers and impresarios). Professor Strohm won the 2012 Balzan prize.
Yana Zarifi (also known as Yana Sistovari) is the artistic director and co-founder of the international London-based theatre company Thiasos. She has explored eastern theatrical techniques, mainly dances that would allow a better understanding of the ritual character of Greek tragedy, especially of the function of the chorus. She has studied the functioning of the chorus in ceremonial contexts in Indonesia, India, Iran and Central Asia. She is Honorary Associate of Royal Holloway, University of London, and received a Getty Scholar Award for the 2006-2007 year to continue her research into Persian (Islamic and pre-Islamic) performance traditions in relation to theatre.