The Oxford Handbook of Greek Drama in the Americas

Cover\nThe Oxford Handbook of \rGreek Drama in the Americas\nCopyright\nDedication\nPreface\nAcknowledgments\nContents\nList of Illustrations\nList of Contributors\nNote on Nomenclature, Spelling, and Texts\nPart I Theories and Methods\n	1 Introduction\n	2 An Archival Interrogation\n	3 New Worlds, Old Dreams? Postcolonial Theory and Reception of Greek Drama\nPart II Shaping American Theater (1800–1900)\n	4 Grecian Theater in Philadelphia, 1800–1870\n	5 Thebes in the New World: Revisiting the New York Antigone of 1845\n	6 Julia Ward Howe’s Hippolytus\n	7 Professional Tragedy: The Case of Medea in Chicago, 1867\n	8 Barbarian Queens: Race, Violence, and Antiquity on the Nineteenth-Century United States Stage\n	9 When Greeks Stand you up, Invite Romans: The Ancient World on the Nineteenth-Century American Stage\nPart III Modernisms in the Americas (1900–1930)\n	10 The Migrant Muse: Greek Drama as Feminist Window on American Identity, 1900–1925\n	11 Iphigenia amongst the Ivies, 1915\n	12 Treading the Arduous Road to Eleusis, Nationalism, and Feminism in Early Post-World War I Canada: Roy Mitchell’s 1920 The Tr\n	13 Greek Tragedy and Modern Dance: An Alternative Archaeology?\n	14 Eugene O’Neill’s Quest for Greek Tragedy\nPart IV The Living Pasts (1925–1970)\n	15 Choreographing the Classics, Performing Sexual Dissidence\n	16 Greek Tragedy in Mexico\n	17 Moving and Dramatic Athenian Citizenship: Edith Hamilton’s Americanization of Greek Tragedy\n	18 A New Stage of Laughter for Zora Neale Hurston and Theodore Browne: Lysistrata and the Negro Units of the Federal Theatre P\n	19 Aristophanic Comedy in American Musical Theater, 1925–1969\n	20 Cubanizing Greek Drama: José Triana’s Medea in the Mirror (1960)\nPart V Creative Collisions (1948–1968)\n	21 Revolutionizing Greek Tragedy in Cuba: Virgilio Piñera’s Electra Garrigó\n	22 A Brazilian Echo of Antigone’s “Collision”: Tragedy, Clean and Filthy\n	23 The Darkening of Medea: Geographies of Race, (Dis)Placement, and Identity in Agostinho Olavo’s Além do Rio (Medea)\n	24 The Frontiers of David Cureses’ La frontera\n	25 Brothers at War: Aeschylus in Cuba, 1968 and 2007\nPart VI The Search for the Omni-AmericaNs (1970s–2013)\n	26 Metaphor and Modernity: American Themes in Herakles and Dionysus in 69\n	27 Lee Breuer’s New American Classicism: The Gospel at Colonus’ “Integration Statement”\n	28 Greek Tragedy, Enslaving or Liberating? The Example of Rita Dove’s The Darker Face of the Earth\n	29 The Power of Medea’s Sisterhood: Democracy on the Margins in Cherríe Moraga’s The Hungry Woman: A Mexican Medea\n	30 August Wilson and Greek Drama: Blackface Minstrelsy, “Spectacle” from Aristotle’s Poetics, and Radio Golf\n	31 “Aeschylus Got Flow!”: Afrosporic Greek Tragedy and Will Power’s The Seven\n	32 Making Women Visible: Multiple Antigones on the Colombian Twenty-First-Century Stage\n	33 Democratic Appropriations: Lysistrata and Political Activism\n	34 Reclaiming Euripides in Harlem\n	35 Oedipus Tyrannus in South America\n	36 Greek Drama on the U.S. West Coast, 1970–2013\n	37 Performing for Soldiers: Twenty-First-Century Experiments in Greek Theater in the U.S.A.\n	38 Greek Drama in Canada: Women’s Voices and Minority Views\nPart VII Practitioner Perspectives\n	39 On Remixing the Classics and Directing Countee Cullen’s Medea and Law Chavez’s Señora de la pinta: An Interview with Theate\n	40 This Bird That Never Settles: A Virtual Conversation with Anne Carson about Greek Tragedy\n	41 Medea in Brazil: Interview with Director Heron Coelho\n	42 An Interview with Héctor Levy-Daniel\n	43 Charles Mee’s “(Re)Making” of Greek Drama\n	44 An Interview with Carey Perloff\n	45 Eclectic Encounters: Staging Greek Tragedy in America, 1973–2009\n	46 The Shock of Recognition: Nicholas Rudall’s Translation of Greek Drama for the Chicago Stage at Court Theatre\n	47 In Conversation with Peter Sellars: What Does Greek Tragedy Mean to You?\n	48 The Women and War Project\n	49 Dionysus in 69 in 2009\n	50 Talking Greeks with Derek Walcott\nAfterword\n	51 Audiences across the Pond: Oceans Apart or Shared Experiences?\nIndex