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Verbal and Visual Witnessing: Tony Harrison’s Euripides
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This chapter explores the theme of witnessing in Harrison’s later theatre works, especially the contrast between photographic and poetic records and accounts of trauma. It argues that Harrison’s choice of ancient plays to adapt and translate (Hippolytus, Medea, Hecuba, Iphigenia in Tauris, Trojan Women), and the central topics discussed in his original play FRAM, are closely related to his experience of the ancient Greek tragedian Euripides, especially to his messenger speeches, and above all to the messenger speech in his HERACLES. It also discusses his engagement with the figure of Gilbert Murray, whose pro-suffragette translations of Euripides were directed in Edwardian London by Harley Granville Barker, and who appears in FRAM, and describes the genesis of Harrison’s IPHIGENIA IN CRIMEA, in which Hall was closely involved.
Title: Verbal and Visual Witnessing: Tony Harrison’s Euripides
Description:
This chapter explores the theme of witnessing in Harrison’s later theatre works, especially the contrast between photographic and poetic records and accounts of trauma.
It argues that Harrison’s choice of ancient plays to adapt and translate (Hippolytus, Medea, Hecuba, Iphigenia in Tauris, Trojan Women), and the central topics discussed in his original play FRAM, are closely related to his experience of the ancient Greek tragedian Euripides, especially to his messenger speeches, and above all to the messenger speech in his HERACLES.
It also discusses his engagement with the figure of Gilbert Murray, whose pro-suffragette translations of Euripides were directed in Edwardian London by Harley Granville Barker, and who appears in FRAM, and describes the genesis of Harrison’s IPHIGENIA IN CRIMEA, in which Hall was closely involved.
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