Overview

This book offers a provocative and groundbreaking re-appraisal of the demands of acting ancient tragedy, informed by cutting-edge scholarship in the fields of actor training, theatre history, and classical reception. Its interdisciplinary reach means that it is uniquely positioned to identify, interrogate, and de-mystify the clichés which cluster around Greek tragedy, giving acting students, teachers, and theatre-makers the chance to access a vital range of current debates, and modelling ways in which an enhanced understanding of this material can serve as the stimulus for new experiments in the studio or rehearsal room. Two theoretical chapters contend that Aristotelian readings of tragedy, especially when combined with elements of Stanislavski’s (early) actor-training practice, can actually prevent actors from interacting productively with ancient plays and practices. The four chapters which follow (Acting Sound, Acting Myth, Acting Space, and Acting Chorus) examine specific challenges in detail, combining historical summaries with a survey of key modern practitioners, and a sequence of practical exercises.

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9783319954707

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Reviews

“Thought-provoking and comprehensive, the book draws on a staggering array of source material, distilling and weaving the knowledge together in a way that is both logical and approachable. ... This volume would be useful for teachers who want their students to forge more intuitive, body-centered relationships with Greek tragedy, directors and vocal coaches interested in sparking their own ingenuity as they stage these plays, and resourceful actors who want to incorporate somatic techniques into character development.” (Karen Kopryanski, Voice and Speech Review, September 10, 2020)

Thought-provoking and comprehensive, the book draws on a staggering array of source material, distilling and weaving the knowledge together in a way that is both logical and approachable. ... This volume would be useful for teachers who want their students to forge more intuitive, body-centered relationships with Greek tragedy, directors and vocal coaches interested in sparking their own ingenuity as they stage these plays, and resourceful actors who want to incorporate somatic techniques into character development. (Karen Kopryanski, Voice and Speech Review, September 10, 2020)

Author Information

Zachary Dunbar is Senior Lecturer in Theatre and Performing Arts Graduate Research Convenor at Victorian College of the Arts, University of Melbourne, Australia. He is a concert pianist, freelance director, writer, and composer with several UK and Australian productions. He publishes on music theatre, theatre history, and Stanislavski studies. Stephe Harrop is Senior Lecturer in Drama (Shakespeare and the Classics) at Liverpool Hope University, UK. Her research focuses on responses to ancient Greek tragedy and epic, the traditional arts in modern theatre-making, and contemporary storytelling practices. She is an associate of the APGRD (University of Oxford), and also works as a performance storyteller.

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