Monody in Euripides: Character and the Liberation of Form in Late Greek TragedyThe solo singer takes center stage in Euripides' late tragedies. Solo song - what the Ancient Greeks called monody - is a true dramatic innovation, combining and transcending the traditional poetic forms of Greek tragedy. At the same time, Euripides uses solo song to explore the realm of the interior and the personal in an expanded expressive range. Contributing to the current scholarly debate on music, emotion, and characterization in Greek drama, this book presents a new vision for the role of monody in the musical design of Ion, Iphigenia among the Taurians, Phoenician Women, and Orestes. Drawing on her practical experience in the theater, Catenaccio establishes the central importance of monody in Euripides' art. |
Contents
The Song at Work | 18 |
Monody As Agōn 41 | 41 |
Memory | 82 |
The Lyric Voice of a Shattered | 112 |
Monody As Messenger Speech 157 | 157 |
Sophocles and Euripides 190 | 190 |
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Common terms and phrases
action actor's lyric actor's song actors Aeschylus Agamemnon agōn Ajax anapests ancient Antigone Antigone's antistrophe Apollo Aristophanes audience Aulis barbarian brother Cambridge University Press Catenaccio character Chong-Gossard choral song chorus contrast Creusa Creusa's monody Csapo death dochmiacs dramatic duet Electra emotional emphasizes Eteocles Euripidean Euripides exodos expression extant female fifth century formal genres Greek tragedy grief Hecuba Helen iambic trimeter imagery Ion and Creusa Ion’s Ion's monody Iphigenia Jocasta lament language late plays lines Mastronarde 1994 messenger speech meter metrical monody mourning musical narrative Oedipus onstage Orestes paean parodos passage performance Persians Phoenician Women Phrygian poetic Poli Polyneices prologue Pylades rhythm role scene second monody Seven against Thebes singer singing solo actor's solo song Sophocles strophe strophic structure Taurians teichoskopia temple theme traditional tragic Trojan Women voice Weiss words Xerxes Zeitlin γὰρ δὲ ἐν καὶ μοι οὐ πρὸς τε τί ὡς