Registration is open for Ancient Drama in Performance V
October 5–7, 2018
Special hotel rates end September 5: http://ancientdrama.go.
The Center for Ancient Drama at Randolph College is pleased to announce its fifth biennial conference on Ancient Drama in Performance.
The conference will feature keynotes by Peter Meineck and William Levitan.
Ancient Drama in Performance V will coincide with the 2018 Randolph College Greek Play, Euripides’ Medea, an original-practices production directed by Amy R. Cohen.
ADIP V will be an opportunity for conference-goers to witness and reflect on an original-practices Greek play, and we look forward both to demonstrating the dramatic power of original practices and to learning much from the responses of the conference-goers.
The conference will also feature:
Timothy Moore on Anapests and Medea’s Revenge
Robert Hornback on Plautine Improvisation and Classical influence on Renaissance Popular Clowning
Christian Fernandez on The Tangibility of Light as Judge and Guide in Oedipus at Colonus
Hans Bork on The Woe of Translating Comic ‘Vae’
Elizabeth Margaret Ten-Hove and Krishni Schaefgen on Staging Sexual Coercion in Aristophanes' Assemblywomen
Jeanne McCarthy on Quintilian Reading Euripides and The Promotion of Classical Performance in the Early Modern Era
Jocelyn Moore on Constructing Apollo’s Domos: the skene and the oikos in Eumenides and Ion
Amanda M. Rogus on One Collective Sensation in the Greek Chorus Line: A Performance Reflection of Oedipus
Fiona Harris-Ramsby on Depoliticizing Aristophanes: Onassis Cultural Center’s The Birds
Wilfred Major on Polemon’s Character in the Opening Scenes of Menander’s Perikeiromene
Ruth Caston on Presence in absence: offstage characters in Terence
Natalie Sheppard on The Representation of Greek Stagecraft in Matt Fraction and Christian Ward’s ODY-C
Emily Jusino on Parallels Between Jesus Christ Superstar and Sophocles’ Trachiniae
Timothy Wutrich on Impasse on Stage: Building a Closed Space in Euripides’s Iphigenia in Aulis
Robert Groves on Rescripting Senecan Performability in Agamemnon Act 1
Al Duncan on The Mask as Affective Object in Euripides’ Medea
\We encourage all scholars of ancient drama to attend, whether or not performance issues have ever been part of their work, and all practitioners of ancient drama to attend, whether or not they use original practices. For those who do involve performance in their scholarship, the meeting will be an opportunity to use our remarkable theatre to test their own theories about how the ancients practiced drama. For those who have not made performance a factor, it will be an chance to discover the large and small ways that practical questions of theatre inform and enrich the philological and literary study of plays. We will also share research and scholarship in a context that insists on the play as an experience.
More information at ancientdrama.go.