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Reproducing "Iphigenia at Aulis"

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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Reproducing "Iphigenia at Aulis". / Findlay, Alison Gail.
In: Early Theatre, Vol. 18, No. 2, 05.2015, p. 133-148.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Findlay, AG 2015, 'Reproducing "Iphigenia at Aulis"', Early Theatre, vol. 18, no. 2, pp. 133-148. https://doi.org/10.12745/et.18.2.2553

APA

Findlay, A. G. (2015). Reproducing "Iphigenia at Aulis". Early Theatre, 18(2), 133-148. https://doi.org/10.12745/et.18.2.2553

Vancouver

Findlay AG. Reproducing "Iphigenia at Aulis". Early Theatre. 2015 May;18(2):133-148. doi: 10.12745/et.18.2.2553

Author

Findlay, Alison Gail. / Reproducing "Iphigenia at Aulis". In: Early Theatre. 2015 ; Vol. 18, No. 2. pp. 133-148.

Bibtex

@article{9a16c2e5c69e4742864b988b9fa8b524,
title = "Reproducing {"}Iphigenia at Aulis{"}",
abstract = "Lady Jane Lumley{\textquoteright}s Iphigenia at Aulis exemplifies the process of dramatic reproduction in the mid-sixteenth century and in 2014. Lumley{\textquoteright}s translation (ca 1554) of Euripides{\textquoteright}s tragedy is a text which revivifies the past to confront the emotional consequences of betrayal and loss. In the sixteenth-century context of Lumley{\textquoteright}s own family, her translation disturbs and manages the emotional consequences of her father{\textquoteright}s involvement in the sacrifice of Lady Jane Grey to fulfil the family{\textquoteright}s political ambitions. My historicist approach juxtaposes a consideration of the play{\textquoteright}s performances in the Rose Company Theatre in 2014. Drawing on interviews with the director and actors and my observation of spectators{\textquoteright} reactions, I discuss the production{\textquoteright}s testing of the script{\textquoteright}s immediacy for audiences in a present which had its own preoccupations with the past: namely, the centenary of the outbreak of World Ward I.",
keywords = "Jane Lumley, Euiripides, early modern women's drama, greek tragedy, first world war centenary, politics, Lady Jane Grey, gender, performance, Rose Company Theatre, all-female performance, ceremony, sacrifice",
author = "Findlay, {Alison Gail}",
year = "2015",
month = may,
doi = "10.12745/et.18.2.2553",
language = "English",
volume = "18",
pages = "133--148",
journal = "Early Theatre",
issn = "1206-9078",
publisher = "Early Theatre",
number = "2",

}

RIS

TY - JOUR

T1 - Reproducing "Iphigenia at Aulis"

AU - Findlay, Alison Gail

PY - 2015/5

Y1 - 2015/5

N2 - Lady Jane Lumley’s Iphigenia at Aulis exemplifies the process of dramatic reproduction in the mid-sixteenth century and in 2014. Lumley’s translation (ca 1554) of Euripides’s tragedy is a text which revivifies the past to confront the emotional consequences of betrayal and loss. In the sixteenth-century context of Lumley’s own family, her translation disturbs and manages the emotional consequences of her father’s involvement in the sacrifice of Lady Jane Grey to fulfil the family’s political ambitions. My historicist approach juxtaposes a consideration of the play’s performances in the Rose Company Theatre in 2014. Drawing on interviews with the director and actors and my observation of spectators’ reactions, I discuss the production’s testing of the script’s immediacy for audiences in a present which had its own preoccupations with the past: namely, the centenary of the outbreak of World Ward I.

AB - Lady Jane Lumley’s Iphigenia at Aulis exemplifies the process of dramatic reproduction in the mid-sixteenth century and in 2014. Lumley’s translation (ca 1554) of Euripides’s tragedy is a text which revivifies the past to confront the emotional consequences of betrayal and loss. In the sixteenth-century context of Lumley’s own family, her translation disturbs and manages the emotional consequences of her father’s involvement in the sacrifice of Lady Jane Grey to fulfil the family’s political ambitions. My historicist approach juxtaposes a consideration of the play’s performances in the Rose Company Theatre in 2014. Drawing on interviews with the director and actors and my observation of spectators’ reactions, I discuss the production’s testing of the script’s immediacy for audiences in a present which had its own preoccupations with the past: namely, the centenary of the outbreak of World Ward I.

KW - Jane Lumley

KW - Euiripides

KW - early modern women's drama

KW - greek tragedy

KW - first world war centenary

KW - politics

KW - Lady Jane Grey

KW - gender

KW - performance

KW - Rose Company Theatre

KW - all-female performance

KW - ceremony

KW - sacrifice

U2 - 10.12745/et.18.2.2553

DO - 10.12745/et.18.2.2553

M3 - Journal article

VL - 18

SP - 133

EP - 148

JO - Early Theatre

JF - Early Theatre

SN - 1206-9078

IS - 2

ER -