Classical Receptions in Drama and Poetry in English
from c.1970 to the Present
| About the project |
Project Publications |
| Specialist Bibliography |
| Masks Workshop Video |
Critical Essays
| Essays |
EJournals
| New Voices |
| Practitioners' Voices |
2010 Conference
ESeminar
Drama Database
| Search the DB |
Poetry Database
(pilot v. 1)
| An Introduction |
Case Study 1: |
| Database Pilot Sample: |
| Eavan Boland |
| Olga Broumas |
| Ted Hughes |
| Michael Longley |
Classical historiography, ideas and material culture
| Exhibiting Democracy |
Classical Reception Studies Network
| CRSN |
Medea: Mapping the EdgeA Review by Professor Lorna Hardwick(For other reviews of Medea: Mapping the Edge please see database no. 2622) This new work takes over the assumption that Greek drama involves the self-examination of a society. It makes use of the Nurse’s speech at the beginning of Euripides’ 'Medea', who looks back on her experiences in the WAAF (discharge without honour for becoming pregnant and the Wing Commander’s daughter taking the Glauke role). Nadia, the daughter of a desert chief arrives in Sheffield from the Yemen in 1901 to search for her husband who has preceded her to make a career in boxing (‘The Arabian Knight’) and now proposes to marry a Sheffield business man’s daughter. Maddy leaves an acre of land, a goat, sheep and silent father and is thought to have magic properties which will change the world. The ‘Jason’ figures represent different aspects of 20th century upward mobility, through the armed services, through sport and business and through moving from town to country. The ‘Chorus’ (male and female, sometimes in unison, sometimes in successive voices) weave together the stories and the fate of the puppet children.
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