Lynn Kozak – författare

Between 2010 and 2017, Canada experienced an efflorescence of Greek tragedy, led by independent Montreal theatre company Scapegoat Carnivale’s energetic performances of Euripides’s Medea and Bacchae and Sophocles’s Oedipus Tyrannus. The performances featured crisp new translations by co–artistic director Joseph Shragge, large casts, and full-throated sung choruses. Scapegoat Carnivale’s trilogy of these familiar but rarely performed plays is at the core of this volume, which includes all three novel play scripts, the company’s stage directions, and helpful annotations that elucidate Greek names and cultural references and place the textual choices in the context of the productions themselves as well as the long manuscript traditions germane to each tragedy. The result sheds light on both the ancient Greek texts and contemporary performance practice, as do accompanying essays introducing the reader to Greek tragedy in fifth-century Athens, reception theories, each play’s themes and cultural resonances, and how Scapegoat’s approach to each play fits into broader global trends of performance and reception.Scapegoat Carnivale’s Tragic Trilogy invites readers from all backgrounds to encounter these plays, whether they are looking at Greek tragedy for the first time or the fiftieth. It gives everyone the tools to understand where these plays came from, offers insights into how they can and should be performed now, and shows why they are more relevant than ever in contemporary theatre and in life.

Between 2010 and 2017, Canada experienced an efflorescence of Greek tragedy, led by independent Montreal theatre company Scapegoat Carnivale's energetic performances of Euripides's Medea and Bacchae and Sophocles's Oedipus Tyrannus. The performances featured crisp new translations by co–artistic director Joseph Shragge, large casts, and full-throated sung choruses. Scapegoat Carnivale's trilogy of these familiar but rarely performed plays is at the core of this volume, which includes all three novel play scripts, the company's stage directions, and helpful annotations that elucidate Greek names and cultural references and place the textual choices in the context of the productions themselves as well as the long manuscript traditions germane to each tragedy. The result sheds light on both the ancient Greek texts and contemporary performance practice, as do accompanying essays introducing the reader to Greek tragedy in fifth-century Athens, reception theories, each play's themes and cultural resonances, and how Scapegoat's approach to each play fits into broader global trends of performance and reception.Scapegoat Carnivale's Tragic Trilogy invites readers from all backgrounds to encounter these plays, whether they are looking at Greek tragedy for the first time or the fiftieth. It gives everyone the tools to understand where these plays came from, offers insights into how they can and should be performed now, and shows why they are more relevant than ever in contemporary theatre and in life.

This volume sheds new light on a wealth of early 20th-century engagement with literature of Graeco-Roman antiquity that significantly shaped the work of anglophone literary modernism. The essays spotlight ‘translation,’ a concept the modernists themselves used to reckon with the Classics and to denote a range of different kinds of reception – from more literal to more liberal translation work, as well as forms of what contemporary reception studies would term ‘adaptation’, ‘refiguration’ and ‘intervention.’ As the volume’s essays reveal, modernist ‘translations’ of Classical texts crucially informed the innovations of many modernists and often themselves constituted modernist literary projects. Thus the volume responds to gaps in both Classical reception and Modernist studies: essays treat a comparatively understudied area in Classical reception by reviving work in a subfield of Modernist studies relatively inactive in recent decades but enjoying renewed attention through the recent work of contributors to this volume. The volume’s essays address work significantly informed by Classical materials, including Homer, Sophocles, Euripides, Sappho, Ovid, and Propertius, and approach a range of modernist writers: Pound and H.D., among the modernists best known for work engaging the Classics, as well as Cummings, Eliot, Joyce, Laura Riding, and Yeats.

At the Iliad's climax, the great Trojan hero Hektor falls at the hands of Achilles. But who is Hektor? He has resonated with audiences as a tragic hero, great warrior, loyal husband and father, protector of a doomed city. Yet never has a major work sought to discover how these different aspects of Hektor’s character accumulate over the course of the narrative to create the devastating effect of his death.This open access book documents the experience of Hektor through the Iliad’s serial narrative. Drawing on diverse tools from narratology, to cognitive science, but with a special focus on film character, television poetics, and performance practice, it examines how the mechanics of serial narrative construct the character of Hektor. How do we experience Hektor as the performer makes his way through the epic? How does the juxtaposition of scenes in multiple storylines contribute to character? How does the narrative work to manipulate our emotional response? How does our relationship to Hektor change over the course of the performance?Lynn Kozak demonstrates this novel approach through a careful scene-by-scene breakdown and analysis of the Iliad, focusing especially on Hektor. In doing so, she challenges and destabilises popular and scholarly assumptions about both ancient epic and the Iliad’s ‘other’ hero.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Knowledge Unlatched programme.

This volume sheds new light on a wealth of early 20th-century engagement with literature of Graeco-Roman antiquity that significantly shaped the work of anglophone literary modernism. The essays spotlight ‘translation,’ a concept the modernists themselves used to reckon with the Classics and to denote a range of different kinds of reception – from more literal to more liberal translation work, as well as forms of what contemporary reception studies would term ‘adaptation’, ‘refiguration’ and ‘intervention.’ As the volume’s essays reveal, modernist ‘translations’ of Classical texts crucially informed the innovations of many modernists and often themselves constituted modernist literary projects. Thus the volume responds to gaps in both Classical reception and Modernist studies: essays treat a comparatively understudied area in Classical reception by reviving work in a subfield of Modernist studies relatively inactive in recent decades but enjoying renewed attention through the recent work of contributors to this volume. The volume’s essays address work significantly informed by Classical materials, including Homer, Sophocles, Euripides, Sappho, Ovid, and Propertius, and approach a range of modernist writers: Pound and H.D., among the modernists best known for work engaging the Classics, as well as Cummings, Eliot, Joyce, Laura Riding, and Yeats.