The Oresteia
Autor Aeschylus Traducere de Hugh Lloyd-Jones, H.L. Jonesen Limba Engleză Paperback – 24 sep 1997
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Specificații
ISBN-13: 9780715616833
ISBN-10: 0715616838
Pagini: 282
Dimensiuni: 135 x 215 x 15 mm
Greutate: 0.32 kg
Editura: BRISTOL CLASSICAL PRESS
Locul publicării:United Kingdom
ISBN-10: 0715616838
Pagini: 282
Dimensiuni: 135 x 215 x 15 mm
Greutate: 0.32 kg
Editura: BRISTOL CLASSICAL PRESS
Locul publicării:United Kingdom
Textul de pe ultima copertă
"By far the best translation. Faithful to the original Greek text and eminently readable. The notes constitute a commentary in their own right."--Albert Henrichs, Harvard University
"Hugh Lloyd-Jones's translation stands out very much from any other. The notes are first class and scholarly."--Jeffrey Rusten, Cornell University
Notă biografică
Aeschylus (525-456 BC) was the father of Greek tragic drama, usually considered the first great writer in the Western theatrical tradition.Rory Mullarkey won the 2014 George Devine Award for his play The Wolf from the Door and was the recipient of the Pinter Commission in 2014 - an award given annually by Lady Antonia Fraser, Harold Pinter's widow, to support a new commission at the Royal Court. He was the Royal Court's writer-on-attachment in 2010 and has been closely associated with the theatre's international work, translating Russian-language plays from Latvia, Russia and Ukraine, including Aleksey Scherbak's Remembrance Day as part of the 2011 International Season and for a number of staged readings. His first full-length play, Cannibals, opened at the Royal Exchange Manchester in 2013, where he became the youngest playwright to have his work performed on their main stage. In 2014, Rory Mullarkey won the Harold Pinter Playwriting Prize, the George Devine Award (jointly with Alice Birch) and the James Tait Black Prize for Drama for his play Cannibals, published by Methuen Drama.
Cuprins
Note
The Oresteia: Introduction
DAVID GRENE
The Oresteia: the Theatrical Perspective
NICHOLAS RUDALL
Translating for the Stage and from the Stage
WENDY DONIGER O'FLAHERTY
Part One: Unabridged Translation
Agamemnon
The Libation Bearers
The Eumenides
Part Two: Acting Version
Agamemnon
The Libation Bearers
The Eumenides
The Oresteia: Introduction
DAVID GRENE
The Oresteia: the Theatrical Perspective
NICHOLAS RUDALL
Translating for the Stage and from the Stage
WENDY DONIGER O'FLAHERTY
Part One: Unabridged Translation
Agamemnon
The Libation Bearers
The Eumenides
Part Two: Acting Version
Agamemnon
The Libation Bearers
The Eumenides
Recenzii
Rory Mullarkey's adaptation of these three Aeschylus plays . . . is undertaken with a spirit it would be hard to trump. . . . Mullarkey has adapted Aeschylus in a way that never fudges, conceals or distances.
Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film.
brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays.
The verse rhythms are fluid and flexible, allowing for passages of lyric song, and the language is pithy and vivid . . . shows how "justice" - the word that resounds through Mullarkey's text like a drumbeat - easily transmutes into blood-soaked revenge.
Rory Mullarkey's new translation can't be accused of lacking scholastic commitment, or ear-enticing poetic carry-on. . . . the phrasing is pungent
Mullarkey's vibrant translation slithers from the poetic to the colloquial
Rory Mullarkey's poetical, darkly funny but never murky adaptation proves stimulating and surprising . . . makes you laugh one moment and shudder the next.
Witty, brash and steeped in blood . . . this is a big and boisterous account packed with sly wit and the sort of brash lines that wouldn't be out of place in a gangster film.
brilliantly evokes the sheer strangeness and horror of the play. Rory Mullarkey's translation follows the Aeschylean original faithfully and his lyrics make some attempts to evoke the percussive muscularity of the choruses. . . . I haven't seen anything quite as sickening or as stately as this version of these plays.
The verse rhythms are fluid and flexible, allowing for passages of lyric song, and the language is pithy and vivid . . . shows how "justice" - the word that resounds through Mullarkey's text like a drumbeat - easily transmutes into blood-soaked revenge.
Rory Mullarkey's new translation can't be accused of lacking scholastic commitment, or ear-enticing poetic carry-on. . . . the phrasing is pungent
Mullarkey's vibrant translation slithers from the poetic to the colloquial
Rory Mullarkey's poetical, darkly funny but never murky adaptation proves stimulating and surprising . . . makes you laugh one moment and shudder the next.
Descriere
Descriere de la o altă ediție sau format:
The author of more than 70 plays, Aeschylus is the earliest of the great Attic tragedians. Of these plays, only seven remain. The "Oresteia" is his only complete surviving trilogy. Peter Meineck has aimed to translate this version of the "Oresteia" for the modern stage.
The author of more than 70 plays, Aeschylus is the earliest of the great Attic tragedians. Of these plays, only seven remain. The "Oresteia" is his only complete surviving trilogy. Peter Meineck has aimed to translate this version of the "Oresteia" for the modern stage.
Caracteristici
This fresh translation of Aeschylus's classic trilogy is by Rory Mullarkey, an award-winning playwright and translator who in 2014 garnered the James Tait Black Prize for Drama, the Harold Pinter Playwriting Award and the George Devine Award (the latter jointly won with Alice Birch)