Book contents
- Ancient Theatre and Performance Culture around the Black Sea
- Frontispiece
- Ancient Theatre and Performance Culture around the Black Sea
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Abbreviations
- Map
- Part I Approaches
- 1 Introduction: Embarking on a Voyage around Black Sea Theatre
- 2 The Spread of Greek Theatre to the West – and to the North-East?
- 3 The Northward Advance of Greek Horizons
- Part II Places
- Part III Plays
- Part IV Performative Presences
- Epilogue: Dancing around the Black Sea: Xenophon, Pseudo-Scymnus and Lucian’s Bacchants
- References
- Black Sea Index
3 - The Northward Advance of Greek Horizons
from Part I - Approaches
Published online by Cambridge University Press: 12 November 2019
- Ancient Theatre and Performance Culture around the Black Sea
- Frontispiece
- Ancient Theatre and Performance Culture around the Black Sea
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Abbreviations
- Map
- Part I Approaches
- 1 Introduction: Embarking on a Voyage around Black Sea Theatre
- 2 The Spread of Greek Theatre to the West – and to the North-East?
- 3 The Northward Advance of Greek Horizons
- Part II Places
- Part III Plays
- Part IV Performative Presences
- Epilogue: Dancing around the Black Sea: Xenophon, Pseudo-Scymnus and Lucian’s Bacchants
- References
- Black Sea Index
Summary
Few surviving Greek tragedies have a non-Hellenic setting, and the development of Iphigenia’s story that culminates in Euripides’ Iphigenia among the Taurians (hereafter IT) is closely linked with increasing familiarity with the Black Sea and contact with its northern hinterland and its peoples. Bearing in mind that tragedy was aimed at a mass audience, what might we suppose were the associations and implications of this location for the public whom Euripides had in mind?
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- Publisher: Cambridge University PressPrint publication year: 2019
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