Medea and male characters on stage

Greek comedy on Greek tragedy: Aristophanes’ Frogs

The skene / house in Euripides’ Bacchae, part 1

The skene/house in Euripides’ Bacchae, part 2

Gender in Euripides’ Medea

Marriage in Euripides’ Medea

The Skene (stage-building) in Oedipus Tyrannus Part 2: Jocasta and her children

Dionysus, Pentheus and the theme of control in Euripides’ Bacchae

Aeschylus’ Agamemnon

The Skene and the Mind of Oedipus

Original performance conditions of Greek Theatre: The skene [for A Level Theatre and Drama students]

The skene (stage building) in Greek theatre performance

“Inventing the barbarian” – Persians and Classical Athens

Watching Aeschylus’ Persians in performance

The historical context of Aeschylus’ Persians

Aeschylus’ The Persians

Introduction to Greek theatre and festivals

Gender in Aristophanes’ Assemblywomen

The historical context of Assemblywomen

The Iconography of “Attic” Comedy

The Domestication of the Polis in Aristophanes’ Assemblywomen

Aristophanes’ Assemblywomen

Dionysus’ Face and Pentheus Dress: Dionysian Imagery and Symbolism

Drama as Cult, or The Mysteries of the Bacchae

Chorus and Characters in the Bacchae

The historical context of the Bacchae

Nature and the Divine in the Bacchae

Euripides’ Bacchae

The myth of Oedipus: textual, visual and material representations

A performance analysis of Sophocles’ Oedipus King

The historical context of Oedipus King

Pre-performance platform discussion on ‘Oedipus King’ with Professor Oliver Taplin and Dr Emmanuela Bakola

Introduction to Ancient Theatre

Sophocles’ Oedipus Rex

Aristophanic comedy: serious laughter?

Aristophanic Comedy and Society

Why does Dionysus choose Aeschylus at the end of Frogs?

Staging Aristophanic Comedy

Pre-performance Platform Discussion on Frogs and Aristophanic Comedy

Frogs 2019 Trailer

Aristophanes’ Frogs

An Introduction to Ancient Theatre

Medea in Rome: a transcultural multimedia heroine

Euripides’ Medea on the Athenian stage

Murder in the family, in Greek drama and in Euripides’ Medea

Introduction to Greek Theatre and Festivals

Euripides’ Medea Trailer

Euripides’ Medea

Euripides’ Medea and the critique of ideology

Masculinity and male characters in Sophocles’ Antigone

How does the chorus in Sophocles’ Antigone relate to individual characters?

Different adaptations of Sophocles’ Antigone

Who should be buried in Antigone and why?

Sophocles’ Antigone

Sophocles’ Antigone Trailer

Topography and the representation of memory in Oedipus Tyrannos: the mountain, the road and the house

The House of Oedipus and its significance in Antigone

Antigone – Dealing with Death

The show must go on: Politics on stage in a city at war

The battle of the sexes in ancient Athens

Experiencing theatre in ancient Athens

Ancient plays for a modern audience

Theatre then and now

Aristophanes’ Lysistrata

Aristophanes’ Thesmophoriazusae

Resources

Medea and male characters on stage

Greek comedy on Greek tragedy: Aristophanes’ Frogs

The skene / house in Euripides’ Bacchae, part 1

The skene/house in Euripides’ Bacchae, part 2

Gender in Euripides’ Medea

Marriage in Euripides’ Medea

The Skene (stage-building) in Oedipus Tyrannus Part 2: Jocasta and her children

Dionysus, Pentheus and the theme of control in Euripides’ Bacchae

Aeschylus’ Agamemnon

The Skene and the Mind of Oedipus

Original performance conditions of Greek Theatre: The skene [for A Level Theatre and Drama students]

The skene (stage building) in Greek theatre performance

“Inventing the barbarian” – Persians and Classical Athens

Watching Aeschylus’ Persians in performance

The historical context of Aeschylus’ Persians

Aeschylus’ The Persians

Introduction to Greek theatre and festivals

Gender in Aristophanes’ Assemblywomen

The historical context of Assemblywomen

The Iconography of “Attic” Comedy

The Domestication of the Polis in Aristophanes’ Assemblywomen

Aristophanes’ Assemblywomen

Dionysus’ Face and Pentheus Dress: Dionysian Imagery and Symbolism

Drama as Cult, or The Mysteries of the Bacchae

Chorus and Characters in the Bacchae

The historical context of the Bacchae

Nature and the Divine in the Bacchae

Euripides’ Bacchae

The myth of Oedipus: textual, visual and material representations

A performance analysis of Sophocles’ Oedipus King

The historical context of Oedipus King

Pre-performance platform discussion on ‘Oedipus King’ with Professor Oliver Taplin and Dr Emmanuela Bakola

Introduction to Ancient Theatre

Sophocles’ Oedipus Rex

Aristophanic comedy: serious laughter?

Aristophanic Comedy and Society

Why does Dionysus choose Aeschylus at the end of Frogs?

Staging Aristophanic Comedy

Pre-performance Platform Discussion on Frogs and Aristophanic Comedy

Frogs 2019 Trailer

Aristophanes’ Frogs

An Introduction to Ancient Theatre

Medea in Rome: a transcultural multimedia heroine

Euripides’ Medea on the Athenian stage

Murder in the family, in Greek drama and in Euripides’ Medea

Introduction to Greek Theatre and Festivals

Euripides’ Medea Trailer

Euripides’ Medea

Euripides’ Medea and the critique of ideology

Masculinity and male characters in Sophocles’ Antigone

How does the chorus in Sophocles’ Antigone relate to individual characters?

Different adaptations of Sophocles’ Antigone

Who should be buried in Antigone and why?

Sophocles’ Antigone

Sophocles’ Antigone Trailer

Topography and the representation of memory in Oedipus Tyrannos: the mountain, the road and the house

The House of Oedipus and its significance in Antigone

Antigone – Dealing with Death

The show must go on: Politics on stage in a city at war

The battle of the sexes in ancient Athens

Experiencing theatre in ancient Athens

Ancient plays for a modern audience

Theatre then and now

Aristophanes’ Lysistrata

Aristophanes’ Thesmophoriazusae