David Bullen – författare

Through a series of case studies, this book explores the interrelations among Greek tragedy, theatre practices, and education in the United Kingdom. This is situated within what the volume proposes as ‘the Classics ecology’.The term ‘ecology’, frequently used in Theatre Studies, understands Classics as a field of cultural production dependent on shared knowledge circulated via formal and informal networks, which operate on the basis of mutually beneficial exchange. Productions of Greek tragedy may be influenced by members of the team studying Classics subjects at school or university, or reading popular works of Classical scholarship, or else by working with an academic consultant. All of these have some degree of connection to academic Classics, albeit filtered through different lenses, creating a network of mutual influence and benefit (the ecology). In this way, theatrical productions of Greek drama may, in the long term, influence Classics as an academic discipline, and certainly contribute to attesting to the relevance of Classics in the modern world. The chapters in this volume include contributions by both theatre makers and academics, whose backgrounds vary between Theatre Studies and Classics. They comprise a variety of case studies and approaches, exploring the dissemination of knowledge about the ancient world through projects that engage with Greek tragedy, theories and practices of theatre making through the chorus, and practical relationships between scholars and theatre makers. By understanding the staging of Greek tragedy in the United Kingdom today as being part of the Classics ecology, the book examines practices and processes as key areas in which the value of engaging with the ancient past is (re)negotiated.This book is primarily suitable for students and scholars working in Classical Reception and Theatre Studies who are interested in the reception history of Greek tragedy and the intersection of the two fields. It is also of use to more general Classics and Theatre Studies audiences, especially those engaged with current debates around ‘saving Classics’ and those interested in a structural, systemic approach to the intersection between theatre, culture, and class.

Through a series of case studies, this book explores the interrelations among Greek tragedy, theatre practices, and education in the United Kingdom. This is situated within what the volume proposes as ‘the Classics ecology’.The term ‘ecology’, frequently used in Theatre Studies, understands Classics as a field of cultural production dependent on shared knowledge circulated via formal and informal networks, which operate on the basis of mutually beneficial exchange. Productions of Greek tragedy may be influenced by members of the team studying Classics subjects at school or university, or reading popular works of Classical scholarship, or else by working with an academic consultant. All of these have some degree of connection to academic Classics, albeit filtered through different lenses, creating a network of mutual influence and benefit (the ecology). In this way, theatrical productions of Greek drama may, in the long term, influence Classics as an academic discipline, and certainly contribute to attesting to the relevance of Classics in the modern world. The chapters in this volume include contributions by both theatre makers and academics, whose backgrounds vary between Theatre Studies and Classics. They comprise a variety of case studies and approaches, exploring the dissemination of knowledge about the ancient world through projects that engage with Greek tragedy, theories and practices of theatre making through the chorus, and practical relationships between scholars and theatre makers. By understanding the staging of Greek tragedy in the United Kingdom today as being part of the Classics ecology, the book examines practices and processes as key areas in which the value of engaging with the ancient past is (re)negotiated.This book is primarily suitable for students and scholars working in Classical Reception and Theatre Studies who are interested in the reception history of Greek tragedy and the intersection of the two fields. It is also of use to more general Classics and Theatre Studies audiences, especially those engaged with current debates around ‘saving Classics’ and those interested in a structural, systemic approach to the intersection between theatre, culture, and class.

Through a series of case studies, this book explores the interrelations among Greek tragedy, theatre practices, and education in the United Kingdom. This is situated within what the volume proposes as 'the Classics ecology'.The term 'ecology', frequently used in Theatre Studies, understands Classics as a field of cultural production dependent on shared knowledge circulated via formal and informal networks, which operate on the basis of mutually beneficial exchange. Productions of Greek tragedy may be influenced by members of the team studying Classics subjects at school or university, or reading popular works of Classical scholarship, or else by working with an academic consultant. All of these have some degree of connection to academic Classics, albeit filtered through different lenses, creating a network of mutual influence and benefit (the ecology). In this way, theatrical productions of Greek drama may, in the long term, influence Classics as an academic discipline, and certainly contribute to attesting to the relevance of Classics in the modern world. The chapters in this volume include contributions by both theatre makers and academics, whose backgrounds vary between Theatre Studies and Classics. They comprise a variety of case studies and approaches, exploring the dissemination of knowledge about the ancient world through projects that engage with Greek tragedy, theories and practices of theatre making through the chorus, and practical relationships between scholars and theatre makers. By understanding the staging of Greek tragedy in the United Kingdom today as being part of the Classics ecology, the book examines practices and processes as key areas in which the value of engaging with the ancient past is (re)negotiated.This book is primarily suitable for students and scholars working in Classical Reception and Theatre Studies who are interested in the reception history of Greek tragedy and the intersection of the two fields. It is also of use to more general Classics and Theatre Studies audiences, especially those engaged with current debates around 'saving Classics' and those interested in a structural, systemic approach to the intersection between theatre, culture, and class.

Through a series of case studies, this book explores the interrelations among Greek tragedy, theatre practices, and education in the United Kingdom. This is situated within what the volume proposes as 'the Classics ecology'.The term 'ecology', frequently used in Theatre Studies, understands Classics as a field of cultural production dependent on shared knowledge circulated via formal and informal networks, which operate on the basis of mutually beneficial exchange. Productions of Greek tragedy may be influenced by members of the team studying Classics subjects at school or university, or reading popular works of Classical scholarship, or else by working with an academic consultant. All of these have some degree of connection to academic Classics, albeit filtered through different lenses, creating a network of mutual influence and benefit (the ecology). In this way, theatrical productions of Greek drama may, in the long term, influence Classics as an academic discipline, and certainly contribute to attesting to the relevance of Classics in the modern world. The chapters in this volume include contributions by both theatre makers and academics, whose backgrounds vary between Theatre Studies and Classics. They comprise a variety of case studies and approaches, exploring the dissemination of knowledge about the ancient world through projects that engage with Greek tragedy, theories and practices of theatre making through the chorus, and practical relationships between scholars and theatre makers. By understanding the staging of Greek tragedy in the United Kingdom today as being part of the Classics ecology, the book examines practices and processes as key areas in which the value of engaging with the ancient past is (re)negotiated.This book is primarily suitable for students and scholars working in Classical Reception and Theatre Studies who are interested in the reception history of Greek tragedy and the intersection of the two fields. It is also of use to more general Classics and Theatre Studies audiences, especially those engaged with current debates around 'saving Classics' and those interested in a structural, systemic approach to the intersection between theatre, culture, and class.

This volume examines the pioneering work of Phyllida Lloyd, whose all-female productions have revolutionised how Shakespeare’s plays are performed in 21st-century Britain.Following Lloyd from her first Shakespeare in Cheltenham in 1986, this book explores her radical casting practices and the importance of her collaborative rehearsal approach. While her 2003 all-female Taming of the Shrew at Shakespeare’s Globe was met with both enthusiasm and resistance, it was her production of Julius Caesar in 2012 at the Donmar Warehouse which sent shock waves through the theatre industry. Alongside Henry IV in 2014 and a new production of The Tempest, Lloyd produced these plays together to create the Donmar Trilogy of 2016 to wide acclaim, a cultural landmark moment in which non-traditional casting had become mainstream.The book explores Lloyd’s ongoing relationships with major stars – Harriet Walter, Janet McTeer, Meryl Streep – and includes new interviews with both Lloyd and actors she has worked with across the last 40 years. It argues that Lloyd’s megamusical Mamma Mia! had a crucial impact on her directing practice, helping to pave the way for the Donmar Shakespeares. Ultimately Schafer and Bullen show that Lloyd’s career-long commitment to creating disturbance and diversity through her work has opened up what she calls the ‘crown jewels’ of British theatre – Shakespeare – to new audiences.

This volume examines the pioneering work of Phyllida Lloyd, whose all-female productions have revolutionised how Shakespeare's plays are performed in 21st-century Britain.Following Lloyd from her first Shakespeare in Cheltenham in 1986, this book explores her radical casting practices and the importance of her collaborative rehearsal approach. While her 2003 all-female Taming of the Shrew at Shakespeare's Globe was met with both enthusiasm and resistance, it was her production of Julius Caesar in 2012 at the Donmar Warehouse which sent shock waves through the theatre industry. Alongside Henry IV in 2014 and a new production of The Tempest, Lloyd produced these plays together to create the Donmar Trilogy of 2016 to wide acclaim, a cultural landmark moment in which non-traditional casting had become mainstream.The book explores Lloyd's ongoing relationships with major stars Harriet Walter, Janet McTeer, Meryl Streep and includes new interviews with both Lloyd and actors she has worked with across the last 40 years. It argues that Lloyd's megamusical Mamma Mia! had a crucial impact on her directing practice, helping to pave the way for the Donmar Shakespeares. Ultimately Schafer and Bullen show that Lloyd's career-long commitment to creating disturbance and diversity through her work has opened up what she calls the 'crown jewels' of British theatre Shakespeare to new audiences.