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Euripides [a] (c. 480 – c. 406 BC) was a Greek tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most.
Euripides' play has been explored and interpreted by playwrights across the centuries and the world in a variety of ways, offering political, psychoanalytical, feminist, and many other original readings of Medea, Jason and the core themes of the play. [1] Medea, along with three other plays, [a] earned Euripides third prize in the City Dionysia.
Pages in category "Plays by Euripides" The following 35 pages are in this category, out of 35 total. This list may not reflect recent changes. A. Alcestis (play)
While most ancient Greek and Roman plays have been lost to history, a significant number still survive. These include the comedies of Aristophanes and Menander , the tragedies of Aeschylus , Sophocles and Euripides , and the Roman adaptations of Plautus , Terence and Seneca .
Cyclops (Ancient Greek: Κύκλωψ, Kyklōps) is an ancient Greek satyr play by Euripides, based closely on an episode from the Odyssey. [1] It is likely to have been the fourth part of a tetralogy presented by Euripides in a dramatic festival in 5th Century BC Athens, although its intended and actual performance contexts are unknown. [2]
The production supplemented Euripides' play with material drawn from a range of sources, united by their exploration of the themes of death and rebirth. [13] It began with Heiner Müller's Explosion of a Memory (Description of a Picture) (1985) as a prologue ; the piece is a dream narrative partly composed using automatic writing .
Iphigenia in Aulis or Iphigenia at Aulis [1] (Ancient Greek: Ἰφιγένεια ἐν Αὐλίδι, romanized: Īphigéneia en Aulídi; variously translated, including the Latin Iphigenia in Aulide) is the last of the extant works by the playwright Euripides.
Euripides challenges the role of the gods and perhaps more appropriately man's interpretation of divine will. Orestes and others note the subordinate role of man to the gods, but the superiority of the gods does not make them particularly fair or rational. William Arrowsmith praised the play as a sharp condemnation of Athenian society, calling it: