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Greek Tragedy and the British Theatre 1660-1914

Cover of 'Greek Tragedy and the British Theatre'. The title is in white font against a black, red, and white background. Below is Edmund Dulac's 'Lillah Borne by the Wings of Love from the Wings of the Stage' (c.1921).
Edith Hall and Fiona Macintosh
2005
    About

    This study offers the first full, interdisciplinary investigation of the historical evidence for the presence of ancient Greek tragedy in the post-Restoration British theatre, where it reached a much wider audience - including women - than had access to the original texts. Archival research has excavated substantial amounts of new material, both visual and literary, which is presented in chronological order. But the fundamental aim is to explain why Greek tragedy, which played an elite role in the curricula of largely conservative schools and universities, was magnetically attractive to political radicals, progressive theatre professionals, and to the aesthetic avant-garde. 

    Publisher
    Oxford University Press
    1. Regicide, Restoration, and the English Oedipus 
    1. Iphigenia and the Glorious Revolution 
    1. Greek Tragedy as She-Tragedy 
    1. James Thomson's Tragedies of Opposition 
    1. Euripides' Ion, Coram's Foundlings, and Hardwicke's Marriage Act 
    1. Eighteenth-Century Electra 
    1. Caractacus at Colonus 
    1. Revolutionary Oedipuses 
    1. Greek Tragedy in Late Georgian Reading 
    1. Ruins and Rebels 
    1. Talfourd's Ancient Greeks in the Theatre of Reform 
    1. Antigone with Consequences 
    1. The Ideology of Classical Burlesque 
    1. Medea and Mid-Victorian Marriage Legislation 
    1. Page versus Stage: Greek Tragedy, the Academy, and the Popular Theatre 
    1. London's Greek Plays in the 1880s: George Warr and Social Philistinism 
    1. The Shavian Euripides and the Euripidean Shaw: Greek Tragedy and the New Drama 
    1. Greek Tragedy and the Cosmopolitan Ideal