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This Companion is not a conventional introductory textbook but an attempt, by seven distinguished scholars, to present the familiar corpus in the context of modern reading, criticism, and performance of Greek tragedy. There are three main emphases: on tragedy as an institution in the civic life of ancient Athens, on a range of different critical interpretations arising from fresh readings of the texts, and on changing patterns of reception, adaptation, and performance from antiquity to the present. 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In other words , unlike some of the finest vintage wines , Athenian tragedy could travel , and in\u0026nbsp;..."},{"page_id":"PA6","page_number":"6","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e ( in Attica as well as in Athens proper ) than any other Greek polis . These included the two annual city ... \u003cb\u003efestival\u003c/b\u003e : Mikalson ( 1982 ) ; Cartledge ( 1985 ) . Democracy : Hansen ( 1991 ) . Slavery : see Ch . 5 below\u0026nbsp;..."},{"page_id":"PA8","page_number":"8","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e celebrated annually towards the end of March or beginning of April in terms of our calendar . The Dionysus honoured here was the local patron god of Eleutherae , a village on the border between Attica and the region of Boeotia\u0026nbsp;..."},{"page_id":"PA9","page_number":"9","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e Fund , from which a small \u0026#39; dole \u0026#39; was given to enable even - or especially - the poorest citizens to pay their theatre entrance - fee . Financially , in terms of the public assets of the state as a whole , the Theoric Fund was\u0026nbsp;..."},{"page_id":"PA10","page_number":"10","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e . Of the latter , the one that concerns us particularly here is the tragic chorēgia , payment for a tragic ( and satyric ) chorus at the Dionysia or Lenaea.12 About the time of Pericles \u0026#39; death , which coincided approximately\u0026nbsp;..."},{"page_id":"PA14","page_number":"14","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e \u0026#39; such as the annual jamboree at Cannes . The Greeks , however , saw nothing odd in theatrical competition either , in which they engaged to the hilt . In the Dionysia and Lenaea \u003cb\u003efestivals\u003c/b\u003e there was competition both between\u0026nbsp;..."},{"page_id":"PA17","page_number":"17","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , if one includes the ten competing tribal choirs of men and ten of boys singing dithyrambs . Speakers in the Assembly , who tended in the main to come from those known semi - officially as \u0026#39; the public speakers ( rhetores )\u0026nbsp;..."},{"page_id":"PA18","page_number":"18","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , was under the management of the Archon known as the \u0026#39; King \u0026#39; , the city\u0026#39;s chief religious official ( though he had no special religious vocation or qualifications ) . Organising a civic \u003cb\u003efestival\u003c/b\u003e was regarded as on a par with\u0026nbsp;..."},{"page_id":"PA19","page_number":"19","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , whereas drama and the Dionysia had come together much sooner , if not indeed from the outset ; and , secondly , that the Dionysia was much more of an international affair than the Lenaea , with the city putting itself on show\u0026nbsp;..."},{"page_id":"PA23","page_number":"23","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e of the Dionysia as a \u003cb\u003efestival\u003c/b\u003e of democratic liberation . Archaeologists date the first , purpose - built theatre of Dionysus at the foot of the Acropolis to about 500 BC , so it would be economical of hypothesis to suggest that\u0026nbsp;..."},{"page_id":"PA24","page_number":"24","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e was indeed post - democratic , a transitional , experimental phase might be ex- pected , during which playwrights , officials and the People as audience alike worked out what was and what was not suitable material for tragic\u0026nbsp;..."},{"page_id":"PA26","page_number":"26","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , although comedy seems to have continued to rank relatively higher here than at the Great Dionysia , where it had been formally recognised only in 486.35 So far , most of this chapter has been men - only and male - ordered\u0026nbsp;..."},{"page_id":"PA28","page_number":"28","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , for example , which Aristo- phanes gently sent up in one of his women - plays , was the most important of several women - only public \u003cb\u003efestivals\u003c/b\u003e celebrated throughout Greece , not only in Athens ; and in the sphere of death\u0026nbsp;..."},{"page_id":"PA32","page_number":"32","snippet_text":"... . Orestes : Hall ( 1993b ) . Thirty Tyrants : Krentz ( 1982 ) . Restored democracy celebration : Strauss ( 1985 ) . Law - code : Hansen ( 1991 ) 162–5 . which the Dionysia and Lenaea play - \u003cb\u003efestivals\u003c/b\u003e retained their 32 PAUL CARTLEDGE."},{"page_id":"PA33","page_number":"33","snippet_text":"P. E. Easterling. which the Dionysia and Lenaea play - \u003cb\u003efestivals\u003c/b\u003e retained their honoured places . Thus Sophocles \u0026#39; Oedipus at ... \u003cb\u003eFestival\u003c/b\u003e Fund mentioned above , a sure sign 33 \u0026#39; Deep plays \u0026#39; : theatre as process in Greek civic life."},{"page_id":"PA34","page_number":"34","snippet_text":"P. E. Easterling. Theoric or \u003cb\u003eFestival\u003c/b\u003e Fund mentioned above , a sure sign of the continued significance of the theatre ... \u003cb\u003efestivals\u003c/b\u003e \u0026#39; - allegedly . By implication , at the time of Isocrates \u0026#39; writing ( the 350s ) they regularly\u0026nbsp;..."},{"page_id":"PA37","page_number":"37","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e in due course ( see Ch . 9 , pp . 223-4 ) , what was it about this art form that was particularly ... \u003cb\u003efestival\u003c/b\u003e devoted to comic competition . As for tragedy itself , at any rate all through this early period , it was\u0026nbsp;..."},{"page_id":"PA38","page_number":"38","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e were established.10 The meaning of tragic perfor- mance its place in the \u003cb\u003efestival\u003c/b\u003e , in democratic ideology , in the teaching of the citizens needs therefore to be approached with satyr play in mind . Each set of three\u0026nbsp;..."},{"page_id":"PA39","page_number":"39","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e.\u0026#39;15 The only difficulty with this attractive formula- tion , which rightly stresses the interconnexion between the different ele- ments , is that its image of \u0026#39; release \u0026#39; leaves us guessing about the tragic parts of the tragike\u0026nbsp;..."},{"page_id":"PA40","page_number":"40","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e of plays that had had a particular success at the City Dionysia ( cf. Ch . 9 below , p . 213 ) . By the time revivals of \u0026#39; classics \u0026#39; were established at the city \u003cb\u003efestival\u003c/b\u003e itself , as part of the competition ( from 386 )\u0026nbsp;..."},{"page_id":"PA42","page_number":"42","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e or in other cultic and festive settings . The external setting in the sanctuary of Dionysos Eleuthereus and in the distinctly cultic ambience of the City Dionysia reinforces the ritual function of the choral dances in tragedy\u0026nbsp;..."},{"page_id":"PA44","page_number":"44","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e of Dionysus was an event of incalculable significance for Western culture , and thence for the history of culture in general . Not surprisingly , scholars have been attracted by the idea that there must have been something\u0026nbsp;..."},{"page_id":"PA45","page_number":"45","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e as the democracy became firmly established , and the seemingly strong link between the worship of Dionysus and the self- definition of the polis . Given this wealth of possibly relevant material can we hope to identify what\u0026nbsp;..."},{"page_id":"PA46","page_number":"46","snippet_text":"... \u0026#39; For the history of the debate see Bierl ( 1991 ) 5-17 with n . 13 ; Silk and Stern ( 1981 ) 142-50 ; Henrichs ( 1984 ) 222 n . 35 . for competition at the drama \u003cb\u003efestivals\u003c/b\u003e always took their subjects 46 P. E. EASTERLING."},{"page_id":"PA47","page_number":"47","snippet_text":"P. E. Easterling. for competition at the drama \u003cb\u003efestivals\u003c/b\u003e always took their subjects from a wider range of myths than just ... \u003cb\u003efestival\u003c/b\u003e day.41 2. The ( entirely proper and understandable ) search for a detectable logic in Dionysus\u0026nbsp;..."},{"page_id":"PA48","page_number":"48","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e and at the Rural Dionysia in the demes , when huge model phalloi were carried in procession through the streets by his worshippers 48 a benign cultic 44 Lonsdale ( 1993 ) 81 ; cf. Frontisi - Ducroux ( 1989 ) 152 . 45 Cf\u0026nbsp;..."},{"page_id":"PA53","page_number":"53","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e which included tragedy should have had strong connexions with the world of the dead.63 All Greek gods resist easy categorisation , but Dionysus \u0026#39; multiform and elusive nature seems to have lent itself to the development of\u0026nbsp;..."},{"page_id":"PA55","page_number":"55","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , the ceremonial performances by which the plays are framed and by the plays themselves . The most important \u003cb\u003efestival\u003c/b\u003e for drama is the Great Dionysia , and I will focus first on different types of \u003cb\u003efestival\u003c/b\u003e activity to show how\u0026nbsp;..."},{"page_id":"PA56","page_number":"56","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e is for - and participated in by - the Athenians as a body . In the theatre itself , this process of participation and display continues . Before the plays themselves , at least from the middle of the fifth century , four\u0026nbsp;..."},{"page_id":"PA57","page_number":"57","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e in which men competed , not merely in plays or in dithyrambic choruses , but also as choregoi in the contests of status within the city . The major \u003cb\u003efestival\u003c/b\u003e at which drama takes place , then , is also itself a social drama\u0026nbsp;..."},{"page_id":"PA58","page_number":"58","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e held every four years . The Panathenaea was , as the name suggests , a \u003cb\u003efestival\u003c/b\u003e for all Athens , where the central event was a huge procession ( pompe ) to the Parthenon , in which all groups of the city were represented . This\u0026nbsp;..."},{"page_id":"PA60","page_number":"60","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , and the \u003cb\u003efestival\u0026#39;s\u003c/b\u003e spatial representation of socio - political division . There were also honorific seats - prohedriai – in the front rows of each block . These were reserved for particular priests , notably priests of\u0026nbsp;..."},{"page_id":"PA61","page_number":"61","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e as an arena of maximum public self - awareness and self - promotion for the city and the citizens . Metics non - citizen resident aliens were also present , both at the Dionysia and at the Lenaea . It is not known if they had\u0026nbsp;..."},{"page_id":"PA62","page_number":"62","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e , general suppositions about the role of women in Athenian culture , oversimplified interpretation of difficult and ambiguous sources , and , all too often , mere hypothesis - \u0026#39; gut feeling \u0026#39; . I shall not be able here to deal\u0026nbsp;..."},{"page_id":"PA64","page_number":"64","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e ; none of women at the theatre . So , the general questions can be framed as follows : is the absence of mention of women at the Great Dionysia a chance effect of our lacunose sources ? Or , since women\u0026#39;s presence in male\u0026nbsp;..."},{"page_id":"PA65","page_number":"65","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e for the whole city , women as a group within the city were publicly represented in the pompē . Indeed , in many religious spheres women\u0026#39;s participation was fundamental . So , is the theatre to be thought of as more like the\u0026nbsp;..."},{"page_id":"PA66","page_number":"66","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e that a view of the likelihood of female attendance at the theatre can be asserted ; but also that the ... \u003cb\u003efestival\u003c/b\u003e as a whole.22 The frame of drama is determined by its audience . If there are only men and predominantly\u0026nbsp;..."},{"page_id":"PA67","page_number":"67","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e at all its levels that the Athenian citizen demon- strated his citizenship , and it is by staging the \u003cb\u003efestival\u003c/b\u003e that the city promoted and projected itself as a city . That Athenian tragedies can provoke , question and explore\u0026nbsp;..."},{"page_id":"PA68","page_number":"68","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e as a \u003cb\u003efestival\u003c/b\u003e , see Connor ( 1989 ) ; Goldhill ( 1990a ) ; Sourvinou - Inwood ( 1994 ) . 4 OLIVER TAPLIN The pictorial record By 300 BC or 68 SIMON GOLDHILL."},{"page_id":"PA73","page_number":"73","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e ? ) dominate . After this dearth of an explicitly theatrical record , there comes a group of vases , painted about the end of the fifth century , which undoubtedly do show actors . They are , however , expressly not in\u0026nbsp;..."},{"page_id":"PA95","page_number":"95","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e defined by their nature as celebrations of Athenian citizenship ( see Ch . 1 ) . The texts were ... \u003cb\u003efestival\u003c/b\u003e , but not at the more international Dionysia when Athens was on display to the outside world ( see Ch . 1\u0026nbsp;..."},{"page_id":"PA96","page_number":"96","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e the group identity depending on citizen status was paramount . Yet in democratic Athens group identity for the citizen male was complicated ; within the post - Cleisthenic organisation of the polis the citizen was a member of\u0026nbsp;..."},{"page_id":"PA129","page_number":"129","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e of the Panathenaea , where the epics were recited in full before an audience of the polis by bards who were competing for prizes for their skills in recital.1 Many of the stories of Greek tragedy are taken from Homer and the\u0026nbsp;..."},{"page_id":"PA130","page_number":"130","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e of Dionysus , and there has been extensive discussion about to what degree the Dionysiac frame affects the tragedies themselves.5 But there is no doubt that many aspects of the religious life of the city are reflected on stage\u0026nbsp;..."},{"page_id":"PA148","page_number":"148","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e which constantly retells the stories of the past for the present ) is a constitutive dynamic of Euripides \u0026#39; often questioning stance towards the city\u0026#39;s inherited tales and their influence . Euripides , like Sophocles and 32 See\u0026nbsp;..."},{"page_id":"PA151","page_number":"151","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e were organised , what the earliest theatres , masks and costumes looked like , how the music sounded , what sort of performance - styles and dramatic conven- tions developed , how far the surviving plays are typical of the\u0026nbsp;..."},{"page_id":"PA152","page_number":"152","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e survives , but we do know that they were overseen by presiding magistrates , that groups of plays were ... \u003cb\u003efestival\u003c/b\u003e entailed competitive performance at civic expense , the allocation of funds was regulated , through the\u0026nbsp;..."},{"page_id":"PA156","page_number":"156","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e . Thus it must have been possible for the same theatre - goer to see old plays revived with their traditional choral parts , new ... \u003cb\u003efestival\u003c/b\u003e the factor uniting all the Dionysiac competitions was the 156 P. E. EASTERLING."},{"page_id":"PA157","page_number":"157","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e performance , we can discover much from studying the texts themselves as scripts to be performed . This is not a matter of considering how an individual director might choose to stage a particular play though that has its own\u0026nbsp;..."},{"page_id":"PA185","page_number":"185","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e and the literary traditions that inform the tragic text would make the purely \u0026#39; fictional \u0026#39; plot appear at a disadvantage . It is not merely that the great cycles 16 Sophocles \u0026#39; Antigone , Hypothesis 1 and schol . 1351\u0026nbsp;..."},{"page_id":"PA207","page_number":"207","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e , tragedians would inevitably gravitate to sensational situations and theatrical display . At the same time , the increased professionalisation of acting , about which we are reasonably well informed , 45 no doubt made its own\u0026nbsp;..."},{"page_id":"PA212","page_number":"212","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e , and there was no shortage of poets wishing to compete or winning favour with audiences . Some of them were famous enough to be mentioned by Aristotle in the same breath as the great \u0026#39; classic \u0026#39; tragedians of the fifth\u0026nbsp;..."},{"page_id":"PA213","page_number":"213","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e in the demes of Attica , the Rural Dionysia , 10 and by the end of the fifth century it would not be surprising if actors were being invited to take successful productions to other cities . Other cities were certainly\u0026nbsp;..."},{"page_id":"PA216","page_number":"216","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e organisers and patrons in different places . Most of the individuals named in the inscription are interesting for one reason or another . The winning dramatist Astydamas the younger was highly popular in the fourth century ( he\u0026nbsp;..."},{"page_id":"PA218","page_number":"218","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e , and the games and the marriage were celebrated at Aegae in Macedonia [ Philip\u0026#39;s daughter Cleopatra was being married to her maternal uncle , Alexander of Epirus ] . Philip was crowned with golden wreaths by individual persons\u0026nbsp;..."},{"page_id":"PA220","page_number":"220","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e to provide them with new material , there was plenty of scope for change and development . One kind of change was clearly formal : if the actor could be invited to perform at a patron\u0026#39;s drinking party as well as in the theatre\u0026nbsp;..."},{"page_id":"PA223","page_number":"223","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e in honour of other gods than Dionysus or to more personal celebrations . The Macedo- nian kings were particularly influential here , but there must always have 39 Eunapius fr . 54 in Historici graeci minores . There is a\u0026nbsp;..."},{"page_id":"PA262","page_number":"262","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e or of popular entertainment . The immediate literary model of the earliest operas is the pastoral drama begun by Poliziano\u0026#39;s Favola di Orfeo ( 1471 ) and given special prestige by the success of Guarini\u0026#39;s Pastor fido ( early\u0026nbsp;..."},{"page_id":"PA266","page_number":"266","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e play \u0026#39; ) and the goal of uniting poetry , music , dance , and spectacle in a Gesamtkunstwerk . The interplay of gods and heroes within the frame of a brooding fatality owes much to a romantic understanding of the Greek tragic\u0026nbsp;..."},{"page_id":"PA281","page_number":"281","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e in 1983 , Gospel toured extensively and arrived for a run of several months on Broadway in 1988. Television broadcast , sound and video recordings have added to its fame . Its linkage of two cultures is full of energy and\u0026nbsp;..."},{"page_id":"PA305","page_number":"305","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e Theatre , he also hoped \u0026#39; ultimately to make Cambridge the centre of an annual dramatic \u003cb\u003efestival\u003c/b\u003e\u0026#39;.44 There were a number of other serious attempts elsewhere in Europe during the inter - war period to mount genuine \u003cb\u003efestivals\u003c/b\u003e of\u0026nbsp;..."},{"page_id":"PA306","page_number":"306","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e was vilified as the cultural expression of a reactionary elite . But it was financial constraint rather than political pressure that prevented any further attempts to revive the ancient Delphic \u003cb\u003eFestival\u003c/b\u003e . However short - lived\u0026nbsp;..."},{"page_id":"PA309","page_number":"309","snippet_text":"P. E. Easterling. of Ancient Greek Drama at Epidaurus in 1954 , followed by the \u003cb\u003eFestival\u003c/b\u003e in Athens at the Herodes Atticus Theatre the following year . The \u003cb\u003efestivals\u003c/b\u003e were launched by the director Dimitris Rondiris , who had been a pupil\u0026nbsp;..."},{"page_id":"PA310","page_number":"310","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e in Stratford , Ontario [ 30 ] . Guthrie\u0026#39;s production , initially intended as a minor event , was the highlight of the \u003cb\u003eFestival\u003c/b\u003e . His conception of an Oedipus who has attained mythopoeic status is clearly indebted to Yeats \u0026#39; own\u0026nbsp;..."},{"page_id":"PA311","page_number":"311","snippet_text":"... the Stratford ( Ontario ) \u003cb\u003eFestival\u0026#39;s\u003c/b\u003e production of Oedipus Rex directed by Tyrone Guthrie in 1955 . [ 31 ] Yukio Ninagawa\u0026#39;s Medea with Tokusaburo Arashi in. 311 Tragedy in performance : nineteenth- and twentieth - century productions."},{"page_id":"PA361","page_number":"361","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e \u0026#39; , in P. E. Easterling \u0026amp; J. V. Muir , eds . , Greek Religion and Society , 98-127 . Cambridge ( 1990 ) Fowl play : a curious lawsuit in Classical Athens ( Antiphon frr . 57-9 Thalheim ) \u0026#39; , in Cartledge , Millett \u0026amp; Todd\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA361\u0026vq=festival"},{"page_id":"PA362","page_number":"362","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e , and processions : civic ceremonial and political manipula- tion in archaic Greece \u0026#39; , JHS 107 : 40-50 ( 1989 ) \u0026#39; City Dionysia and Athenian democracy \u0026#39; , Classica \u0026amp; Mediaevalia 40 : 7–32 Corsini , E. , ed . ( 1986 ) La Polis\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA362\u0026vq=festival"},{"page_id":"PA367","page_number":"367","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e \u0026#39; , TAPA 121 : 133–47 ( 1993 ) \u0026#39; Comic hero versus political elite \u0026#39; , in Sommerstein et al . ( 1993 ) 321-40 Henrichs , A. ( 1978 ) \u0026#39; Greek maenadism from Olympias to Messalina \u0026#39; , HSCP 82 : 121-60 ( 1982 ) Changing Dionysiac\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA367\u0026vq=festival"},{"page_id":"PA371","page_number":"371","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e in Ancient Athens . Princeton Newiger , H.-J. ( 1961 ) \u0026#39; Elektra in Aristophanes \u0026#39; Wolken \u0026#39; , Hermes 89 : 422-50 Norrish , P. ( 1988 ) New Tragedy and Comedy in France 1945-70 . Totowa , NJ Nugent , S. G. ( 1988 ) \u0026#39; Masking\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA371\u0026vq=festival"},{"page_id":"PA372","page_number":"372","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e and the polis : a context for dramatic \u003cb\u003efestivals\u003c/b\u003e at Athens \u0026#39; , in Sommerstein et al . ( 1993 ) 21-37 Osborne , R. , \u0026amp; S. Hornblower , eds . ( 1994 ) Ritual , Finance , Politics , Festschr . D. M. Lewis . Oxford Østerud , S\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA372\u0026vq=festival"},{"page_id":"PA373","page_number":"373","snippet_text":"... \u003cb\u003efestival\u003c/b\u003e judges - seven , five or however many \u0026#39; , CQ 36 : 322-6 Popp , H. ( 1971 ) \u0026#39; Das Amoibaion \u0026#39; in W. Jens , ed . , Die Bauformen der Tragödie , 221-75 . Munich Powell , A. , ed . ( 1991 ) Euripides , Women and Sexuality . London\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA373\u0026vq=festival"},{"page_id":"PA375","page_number":"375","snippet_text":"... \u003cb\u003eFestivals\u003c/b\u003e of Attica . An Archaeological Commentary . Madison \u0026amp; London Sinclair , R. K. ( 1988 ) Democracy and Participation in Athens . Cambridge Sinfield , A. ( 1983 ) Literature in Protestant England 1560-1660 . London Sissa , G\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA375\u0026vq=festival"},{"page_id":"PA377","page_number":"377","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e liturgies in Thorikos \u0026#39; , ZPE 62 : 213-20 ( 1995 ) \u0026#39; Monumental political architecture in Archaic and Classical Greek Poleis \u0026#39; , in D. Whitehead , ed . , From Political Architecture to Stephanus Byzantinus . Stuttgart Whitlock\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA377\u0026vq=festival"},{"page_id":"PA381","page_number":"381","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e 309 ; Painted Stoa 94 ; performance culture 5-6 , 54 ; superiority asserted in tragedy 100-3 ; theatres , ( earliest ) 23 , ( of Dionysus , all- stone ) 15-16 , 35 , 57 , ( of Herodes Atticus ) 288 , 309 ; and Thebes 23 , 101\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA381\u0026vq=festival"},{"page_id":"PA382","page_number":"382","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e 18 , 57-66 , 67 , 95 , 213 Citti , Franco 280 civic life 3-35 ; agonistic nature 20-1 ; chronological perspective 22-35 ; individual / collective tension 16 , 60 , 104 , 335 ; language 20-1 , 128 , 132–3 , 135 ; and religion 6\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA382\u0026vq=festival"},{"page_id":"PA385","page_number":"385","snippet_text":"... \u003cb\u003eFestival\u003c/b\u003e Fund see Theoric Fund \u003cb\u003efestivals\u003c/b\u003e , ancient : civic function 5-11 , 95 , 185 , 333 ; see also Dionysia , Great and Rural ; Lenaea \u003cb\u003efestivals\u003c/b\u003e , modern 305-9 fictional plots 185-6 , 208 films 277-81 , 282 , 312 fleet , Athenian 16\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA385\u0026vq=festival"},{"page_id":"PA390","page_number":"390","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e see Dionysia , Rural sacrifice 332-3 , 335 , 343 ; at \u003cb\u003efestivals\u003c/b\u003e 3-4 , 6 , 17 , 34 , 55 ; in tragedy 188 , 192 , 193 , 335 Saint - Denis , Michael 309 Salamis , Battle of 17 , 25 , 99 , 352 salvation 52 , 258 , 261 Sartre\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA390\u0026vq=festival"},{"page_id":"PA392","page_number":"392","snippet_text":"... \u003cb\u003efestivals\u003c/b\u003e 8 , 28 , 55 , 62-6 ; heightened language 119 , 122–3 ; Hippolytus \u0026#39; invective against 30 , 117-18 , 204 ; invisibility 64 , 105 ; male / female confrontation 22 , 206 ; marriage 121-2 , 193 , 343 ; medical ideas on 109-10\u0026nbsp;...","page_url":"https://books.google.com.sg/books?id=Fy4iSjY2VTYC\u0026pg=PA392\u0026vq=festival"}],"search_query_escaped":"festival"},{});</script></div></div></div><script>(function() {var href = window.location.href;if (href.indexOf('?') !== -1) {var parameters = href.split('?')[1].split('&');for (var i = 0; i < parameters.length; i++) {var param = parameters[i].split('=');if (param[0] == 'focus') {var elem = document.getElementById(param[1]);if (elem) {elem.focus();}}}}})();</script>