Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 20 September 2019

(p. 841) Index

(p. 841) Index

Note: Page numbers in italics refer to illustrations; those followed by ‘n’ to information in a note. Works appear in the author’s entry.

Aannestad, Elling 274, 279
abolitionist movement 63, 65, 85
aboriginal people see indigenous people and cultures
Abrams, Abiola: Goddess City (with Grant) 685
Achebe, Chinua 483
Acocella, Joan 247
Acosta, Mercedes de 237
activist movements and internal oppression 516–17
actors and acting
opportunities for African-American artists 595–6, 597, 602
actresses
black actresses and essentialist notions of race 601–2
Canadian actresses and need to move to New York 193–4
and Canadian post-WWI university drama 189–91, 196–9
Medea as female part viii–ix, viii–ix
actresses in nineteenth-century Philadelphia 58–60, 65
interpretations of Heron and Ristori 119–25
reception in Mexico 256–8
in nineteenth century
Antigone in New York 70–1
Heron and Ristori as Medea 119–25
Medea in Philadelphia 58–60, 65
and Phaedra in Howe’s Hippolytus 85, 87, 89, 90, 91, 93
rival Cleopatras in New York 126, 127–8
adaptations of Greek drama
“Black Dionysus” and African-American adaptations 39, 546, 608n.31
Canadian women poets as translators and adaptors 672–3
challenges of Menander’s work 303–4
Chavez’s Señora de la pinta and constraints of original story 690–2, 694
in Cuba
Piñera’s Electra Garrigó 335, 336–7, 339, 361–74
Triana’s Medea in the Mirror 334–6, 339–50, 401
Cullen’s version of Medea 685, 686–90, 694, 695
doubling and repetition in Colombian Antigones 556–71
Dove’s retelling of Oedipus in slavery context 502–11, 507, 510
in Latin America 333, 400–2
MacLeish’s 1960s Herakles 457–63, 468, 469
Mee on interest in Greek subject matter 731–5
musical theater adaptations of Aristophanic comedy 301–26
in nineteenth century
Chicago theaters 98
in Mexican theaters 253, 254, 262
for moral acceptability 135
New York theaters 71–2
Philadelphia theaters 56–61, 79
Oedipus Tyrannus in Latin America 611–25
postcolonial context 497
psychoanalysis and Electra adaptations 366
Rudall on distinction between adaptation and translation 765
(p. 842) Addams, Jane 97–8, 103, 281
Aeschylus viii, 56, 264
Edith Hamilton’s writing on and translations of 273–4, 275–6, 280
military background 655, 665
Oresteia trilogy x–xi
Edith Hamilton’s translation of Agamemnon 274, 276, 278, 279
Rehm and Australian production (1974) 748–9
Rudall’s Agamemnon 767
Stein’s production in Berlin 742–3
The Persians 143, 214–15, 215, 743
Rehm’s production 753–4
Sellars’s production 635, 651, 753, 782–4, 785
West Coast productions 635–6, 651
Prometheus Bound (attrib.)
Carson’s “Quicktime Prometheus” 703–7
Hamilton’s translation 271, 274, 276–7
production at Delphi 204–5, 209–12, 213, 275, 275, 277–8
The Seven against Thebes
and Arrufat’s adaption in Cuba 434–51
as hip hop mashup in Power’s The Seven 544, 546, 547–8, 549–52, 553
The Suppliant Women 208–9, 210
aesthetic sensibilities of Athenians 258
aesthetic theater 653
Afghanistan see Iraq War (2003–11)
Africa
and origins of Greek drama 39, 502, 545–6, 599–601, 774
races and racial theories 113, 114, 115, 297
women’s activism against war 585–6, 587–8, 589
African Americans
adaptations of Lysistrata 286–99
African heritage in Dove’s The Darker Face of the Earth 507–8
archival material on stage productions 6
archive of American life 26–7
archive of Negro life 17, 20
and Breuer’s The Gospel at Colonus 476, 480, 482, 483, 484, 485–6, 602, 769, 832
cast of Papp’s Electra (1969) x
classical tradition and western hegemony 495, 502, 595
and Greek drama in twenty-first century xi, 545–6, 773–4
Harlem productions of Euripides 595–609
as omni-Americans 14, 769
and postcolonial experience and theory 31, 34, 35–6
classical tradition and reception of Greek drama 36–40, 495–6, 502, 595–7
identity politics and black theater 498–502
representing race on the American stage 485
“subterranean” presence of Classics 11
Wilson’s Radio Golf 528–39
Afro-Brazilian culture
“Baiana” women in 412, 413
Black Experimental Theater 403–4
candomblé religion 384, 386–7, 405
capoeira 391–2, 398
Afro-Cubans
place in Castro’s Cuba 349
racial protocols for marriage 346–7
religious beliefs and ritual 344–5, 370
visibility in Triana’s Medea 350, 401
Afrocentric Classicism movement 554n.8
Ahmed, Samira 585, 586, 589
Ailey, Alvin 247
Akalaitis, JoAnne 733
production of Iphigenia Cycle 767, 768
production of Trojan Women 768–9
Alape, Arturo 556
Albee, Edward 229
Albright, A. Cooper 217n.6, 237
Aldington, Richard 152
Aldrich, Thomas Bailey 142
Aldridge, Ira 286
Alfaro, Luis
Bruja 643, 644
Electricidad 642–3
Oedipus el rey 496, 643
Alfieri, Vittorio: Oreste 253, 255
(p. 843) Allan, Maud 142, 234
Allen, Scott Joseph 413–14
Allen, T. W. 8
Allende, Isabel 716
Altamirano, Ignacio Manuel 253, 256–8, 263
American Classicism
and blackface minstrelsy 526
and Breuer’s The Gospel at Colonus 474–92, 602, 769
American Conservatory Theater, San Francisco 629–30, 636–7, 739
“American exceptionalism” 31, 33, 36, 495–6, 647
American West and national identity 628
Americanization of Greek tragedy and Edith Hamilton 272, 274, 275–6, 279–80
amphitheater stage 214–15
ancient Egypt 53
see also Cleopatra
ancient Greece
culture and civilization 113, 115, 116–17
absence of Greek drama on nineteenth-century stage 133–6, 144
adoption in America 134
attitudes in nineteenth-century America 22, 133, 134
Ancient Greeks/Modern Lives program
Homecoming: The Return of the Warrior project 652, 654–67
ancient Rome
America’s identification with 23, 53, 112
and feminine resistance to slavery 63, 65
in nineteenth-century theater 133, 136–41
see also Latin
ancient world and nineteenth-century American theater 133–44
Anderson, Benedict 27
Anderson, Ellen: Liz Estrada 577, 579–81, 582, 589
Anderson, Judith ix
Andino Moscoso, Peky: Edipo y su señora mamacita 618–19
Andrade, Jorge: Pedreira das Almas 375n.8, 402
Andrade, Mário de 719
Andreas, James R., Sr. 545
Angel, Marina 160
Angel Island, San Francisco: Odyssey production 641, 641
Anglin, Margaret viii, ix, 192, 194
as Phaedra in Howe’s Hippolytus 85, 86, 87, 93
Anouilh, Jean 341
Anrup, Ronald 559
anti-war message of Greek drama vii–viii, x, xi, 97, 167, 316–17, 747
critics and “tragedy fatigue” 820–1
Harrison’s Hecuba 821, 835–6
Kott’s 1960s Orestes 635
Lysistrata Project and political activism 575–93, 651
and “Make Love Not War” slogan 581, 582–4, 585, 589
women’s activism and media sex strikes 584–6, 588, 589
Antoine, Chief Duane 675, 679n.18
Apollo Belvedere and racial theory 113, 114
Après-midi d’un faune, L’ (ballet) 240–2, 241, 245
Aquila Theatre company 652, 656, 661, 662
Arch Street Theatre, Philadelphia 54, 55, 62, 79
archaeology
Greek architecture and modern dance 207–8
and Modernist view of “the classical” 527
and revelations of recreated dance 204–5, 216
architecture
neoclassical architecture 34, 55, 134
Philadelphia theaters 54–5
“archival turn” in scholarship 26
Archive of Performances of Greek and Roman Drama (APGRD), Oxford 6, 28n.3
archives on Greek drama and performance in Americas 6–7, 17–28
belated appearance and reasons for 20, 26–7
Frogs society archive on Negro life 17–18, 26
(p. 844) limited literature on 18–19
on Peace musical 313–14
theory and meaning of archives 19–20
Ardura, Ernesto 371
Argentina 375n.8
Border Studies and Cureses’ La frontera 417–32
Levy-Daniel’s Yocasta 612–13, 726–30
Oedipus Tyrannus films and musicals 613–17
political readings of Antigone 400–1
Aristophanes 56
Acharnians production (1886) 302
Assemblywomen 158
Birds 302, 303
Culture Clash’s West Coast production 642
Ecclesiazusae 303
The Frogs 17–18, 134, 302, 303, 744
Lysistrata x, 158, 160
African-American adaptations 287, 289–98
The Happiest Girl in the World musical version 302, 304, 309–12, 315, 318, 319
Lysistrata Project and political activism 575–93, 651
Moscow Art Theatre musical adaptation 302, 303, 304–9, 312, 318, 319
productions in north America 302–3
masks in plays 526
musical versions of comedies 301–26
Peace as musical 302, 312–19, 317
Thesmophoriazusae 303
Aristotle 227–8, 496, 657, 700, 737
Poetics 13
on catharsis 486, 490
opsis and Wilson’s Radio Golf 528–31, 533–4, 538–9
Ariza, Patricia: Antígona 556–8, 559, 560, 563–71, 564, 567
Arnold, Matthew 71
Arrowsmith, William 464
Arrufat, Antón 362, 375n.5
“Girón Beach (Bay of Pigs)” (poem) 444–5
“The Men” (poem) 434
ostracism in Cuba and rehabilitation 434–6
Seven against Thebes (Los siete contra Tebas) 434–51
premiere in Cuba (2007) and changes 436, 446–7
Artists Repertory, Portland 634
Arts and Letters Club (Toronto) 191, 193, 194
Ashby Stage, Berkeley 638, 639
Ashcroft, B. 33, 475, 497
Asian productions in California 633–4
Asquith, Herbert 178n.3
Athenian playwrights
absence from nineteenth-century stage 133–4, 135
comparison with Ben-Hur 140
Athenian Touch, The (musical) 303
Athens
aesthetic sensibilities of citizens 258
Edith Hamilton as honorary citizen 271–2, 282
Atkinson, B. 320n.18
atomic war and MacLeish’s Herakles 461–2, 463
Atwood, Margaret: Penelopiad (novella) 673
audiences
aesthetics of Theater of War readings 660–1
for African-American classical performance 598, 602
ballet and sexual dissidence 240, 240–1, 244, 248
Breuer’s The Gospel at Colonus
and catharsis 486–7, 490
in Edinburgh 831–5, 836
and hybridity 479–80
for British and American performances 819–38
changes in behavior in nineteenth century 105–6
and chorus 490, 738–9, 742–3
decline in numbers in recent history 630
efforts to attract women 101–2
gay audience and Celebration Theater’s The Bacchae 470
and hip hop and Power’s The Seven 545, 547–9, 553
Irish-American audiences and Heaney’s The Cure at Troy 827–9, 834–5, 836
(p. 845) and knowledge of Classics 548, 693–4
moral sensibilities and absence of Greek drama 135–6, 144
participation
Alfaro’s Bruja 643
involvement in outdoor performances of Electra 738–9, 742
Performance Group’s Dionysus in 69 and re-enactment 464, 801, 803–6
public venues and engagement with military personnel 652, 655–6, 662–7
social theater and public engagement 653–4, 658–9, 662–7
Women and War Project questionnaires 795–6
racial stereotypes and expectations 286, 292, 532–3, 536, 550–1, 598, 606
reaction to homosexual kiss in Dionysus in 69 466–7
soldiers in ancient and modern contexts 655, 656, 665
Auletta, Robert: The Persians adaptation 635, 651, 784
Auric, Georges 322n.45
Aurora Theatre, Berkeley 636
Aztec history and Mexican national tragedy 263–5
Babylonian empire in American theater 133, 143–4
Badeau, Adam 122
“Baiana” women in Afro-Brazilian culture 412, 413
Baibussynova, Ulzhan 787
Baker, Houston 500
Bakst, Léon 240
Balanchine, George 234
Apollon Musagète/Apollo 242–4, 243, 247
ballet
Duncan’s rejection of 235
male dancer and sexual dissidence 239–42, 242–3, 247–8
Ballets Russes 239, 240, 242, 243, 244
Balme, Christopher 480
Bandeira, Manuel: Tragédia Brasileira (poem) 716
Banim, John: Damon and Pythias (with Sheil) 55, 98, 106, 107, 108, 136–7
Banks, Daniel 683–98
Baraka, Amiri 499
Baralt, Alejandro 338
Barbara and Lawrence Fleischman Theater, Getty Villa Museum, Los Angeles 630–2, 631, 701, 738–9
barbarians
barbarian women and attitudes to antiquity 112–30
Barker’s production of Iphigenia in Tauris 167, 169
Medea as barbarian Other 342, 403, 408, 411, 521
sculptures of Medea and Cleopatra 116–19
clash of civilizations in Cureses’ La frontera 417–32
Barber, Jesse 676
Barker, Harley Granville vii, 166–76, 184, 191, 192
Barney, Natalie 237
Barnum, P. T. 143
Barquet, J. J. 445
Barreto, Bruno 717–18
Barrett, Wilson: The Sign of the Cross 139, 140
Barrows, Mabel Hay 192
Bartholomew, William: Antigone translation 70, 73, 75, 80
Barton, John The Greeks (with Kenneth Cavander) xi
Barton, Melissa 291
Bates, Herbert 154
Batista, General Fulgencio 335–6, 340–1, 349, 367–8, 372–3
Bauer, R. 31
Bausch, Pina 234, 733
Bay of Pigs invasion 436, 437, 438–41, 444–5
Beam, Annamarie 532
Beard, George Miller 125
Beckett, Samuel 701, 732
Bel Geddes, Norman 322n.45
Bélanger, Stéphanie A. H. 792
Bell, James 63
Ben-Zvi, Linda 159
(p. 846) Bennett, Robert Russell 323n.55
Berkeley City Club 639
Berkeley Repertory Theatre 515, 630, 634, 823
Bernal, Martin 38, 39, 502, 546, 554n.8, 774
Bernhardt, Sarah 93, 126, 127, 128
Bernstein, Leonard 302
Bérubé, Alan 244
Beverly, Trezana 597, 600, 601–2
Bhabha, Homi 45, 479
Bharucha, Rustom 544
Biblical subjects in nineteenth-century theater 133, 141–3
Billington, Michael 496
Billotte, K. 573n.18
“Billy the Kid” (William Bonney) 141
Bird, Robert Montgomery see Montgomery Bird
Birth of a Nation (film) 137, 170, 176
Bischoff, Henry 21
Bishop, Elizabeth 717–18
Black Arts movement and racial politics 485, 499–502, 529, 595
“Black Athena” 39, 546, 608n.31, 774
Black Atlantic 8, 14, 605–6
“black body” and visibility of race 596–7, 601–2, 606
“Black Dionysus” 39, 546, 608n.31
Black Experimental Theater (TEN) 403–4
“Black Orpheus” 39, 546, 601, 608n.31
blackface theater
African-American performance and Greek drama 525–8
appropriation in Wilson’s Radio Golf 528, 530–9
and Breuer’s The Gospel at Colonus in Edinburgh 833
knowing use in Peace musical 313, 314, 315–16, 317–18, 324–5n.66
and Modernism 526–7
in nineteenth century 12, 62–3, 65, 77, 525, 526, 530–1
stereotypes and portrayal of African Americans 286–7, 292, 525, 536
Blanc, Aldir 719
Blanco, Luis Amado 372
Blauner, R. 35
Blind Boys of Alabama 485–6, 489, 832, 834
Blondell, Ruby 346
Blume, Kathryn
and Lysistrata Project 576, 577–8, 581
The Accidental Activist 577, 586–8, 589
Boal, Augusto 13, 398, 496, 657, 658, 791
body
“black body” and visibility of race 596–7, 601–2, 606
female body and Lysistrata Project 588
and modern dance 213
and liberation of women 236
Boeckh, August 74
Bolus, Michael Peter 548
Bond Street Theatre for Social Development 791
Bonney, William (“Billy the Kid”) 141
Booker, Margaret 533
Booth, Edwin 85, 87, 90–1
Boothenian Dramatic Society 57
Border Studies and Cureses’ La frontera 417–32
border theory 46
Borges, Jorge Luis 623n.25
Bosnian conflict: Thompson’s Elektra in Bosnia 792, 793, 794
Boucicault, Ruth Holt 93
Bourlos, Mr (Greek actor) 271, 277, 283n.9
Bower, Sharron and Lysistrata Project 576, 577–8, 581, 589
Bowers, Mrs. David P. (née Elizabeth Crocker) 58
Bowery Theatre, New York 73
Oedipus in 1834 71–2, 134
Boyne, Mark 672
Bracho, Julio 262
Braham, Lionel 171–2
Brancato, Sabrina 553
Brazil 375n.8
Antigone retellings
Andrade’s Pedreira das Almas 402
Dias Gomes’s O pagador de promessas 380–99
Coelho’s production of Gota d’água—Breviário and theater in 708–21, 715
marginalization of education and culture 719–20
(p. 847) Olavo’s Além do Rio (Medea) 402, 403–5, 408–15
slave societies and syncretic religion 413–14
Brecht, Bertolt 714, 716, 717, 720, 740
Brene, José Ramón 435, 436
Brennan, T. 45
Breuer, Lee 781
The Gospel at Colonus
at Edinburgh Festival 830–5, 836, 837
and new American Classicism 13, 474–92, 543, 602, 769
Briggs, Charles 25, 26
Briggs, Ward 34
Britain
political parallels with ancient Rome 136, 137
transfer of productions to Americas 71–2, 819–38
Britto, Valkyria 717
Brock, H. I. 309
Brooklyn Academy of Music 474, 579, 581, 830
Brough, Robert 72
Brower, Frank 531
Brown, James Francis 750
Brown, John Mason 273, 276, 279
Browne, Maurice 97–8, 103, 178n.8, 184
Browne, Theodore: Lysistrata 287, 289, 291–8, 293
Brownson, Orestes 25–6
Bryn Mawr School, Baltimore 272, 273
Buarque de Hollanda, Anna Maria (Ana de Holanda) 721
Buarque de Hollanda, Chico (Francisco)
Breviário Calabar 710
Gota d’água (with Pontes) 333, 402–3
Coelho’s Breviário version in Brazil 708–21, 715
Ópera do Malandro 713
popularity as musician 712
Roda viva 710
Budelmann, F. 39
Buenaventura, Alejandro 612
bufo theater in Cuba 350, 361–2
Bugallo, Enrique 614
Bulfinch, Thomas: Age of Fable 60, 134
Bulwer-Lytton, Edward 137
Burdine, Warren 476
Burgess, Ernest W. 296
burial repression and displaced people in Colombia 558–60, 561
burlesques
humorous adaptations of Oedipus Tyrannus in Latin America 611
London Medea 125, 134
in nineteenth-century America
Antigone productions 72, 74, 77, 79
English imports in Chicago 98–9
in Philadelphia theaters 12, 61, 62
Burnett, Anne Pippin 471n.13
Burnham, Agnes 189
Burt, A. L. 185, 199
Burt, Ramsay 239
Buschor, Ernst 204–5, 207, 209, 216
Bush, George H. W. 469–70
Butcher, S. H. 530
Butler, Judith 674
Butsch, Richard 105–6
Bynner, Witter 151
Byrd, Debra Ann 595–6, 597, 598, 601
Byzantine music and Greek chorus 208–9, 210, 212, 214, 282n.8
Cabaret (musical) 301
Cacoyannis, Michael 276, 303
Calame, Claude 224–5
Calderón, Fernando: Ifigenia 252, 257
Calderón de la Barca, Pedro 254, 255
California see West Coast productions
Callas, Maria 353n.32
Calvino, I. 7
camp aesthetic of Peace (musical) 312–13, 316
Campbell, Douglas x–xi, 3, 4, 671
Campbell, Wilfred 186
Canada
American dominance of theater world 193–4
Greek drama and women’s and minorities’ perspectives 671–9
national identity and classical associations 185–6, 190, 198
participation in World War I 184–5, 190
postcoloniality 9
(p. 848) university productions of Greek drama 186–200, 671–2
Canadian National Arts Centre, Ottawa 303
Cândido, Antônio 720
candomblé religion in Brazil 384, 386–7, 405
canonical counter-discourse 38
Cantoría Ars Nova: Edipo rey 613, 614–15
capoeira chorus in Dias Gomes’s O pagador de promessas 391–2, 398
Carballido, Emilio 266
Caribbean
classical names and history of slavery 809
literature of 809
and postcolonial experience and discourse 8, 31, 35
equivalence with European literary tradition 484
and reception of Greek drama 40, 41–4
writers and classical spirit 39
Carmines, Al: Peace (with Reynolds) 302, 312–19, 317
Carpinetti, Mario 614
Carpinetti, Raúl 614
Carrillo, Fernão 414
Carson, Anne 463
Antigonick 674, 701–2
Cassandra Float Can (with Currie) 700–1
“Quicktime Prometheus” 703–7
translations 672, 673–4
thoughts on 699–707
Carter, Stephen: Pecong 596
Case, Sue-Ellen 588
Casey, Edward 406
Castaño, Cesar: Antígona incorporéa 556
casting issues
African-American cast for Papp’s Electra x
Banks’s integrated cast at Williams College 690
color-blind casting 484, 499, 529
Sellars’ non-traditional casting 782, 787–788
Castro, Fidel 343, 347–50, 362, 372, 373, 374, 434, 435–6, 445
Castro, Raúl 437, 446
catharsis
Breuer’s The Gospel at Colonus 486–7, 488, 490
and soldiers’ experiences 792
Cather, Willa 150, 163
The Professor’s House (novel) 153–7
Catholicism in Brazil 382–91, 410, 411
slave societies and syncretic religion 414
Cavalli, Leona 710
Cavander, Kenneth: The Greeks (with John Barton) xi
Cayer, Jennifer 298n.5
Caymmi, Nana 719
Celebration Theater: The Bacchae 470
censorship 382
and corruption in Brazil 713, 720
Cree chief and Kasokeo’s Antigone 674, 675
in Cuba 446
Marshall’s work in Argentina 617
Centennial International Exhibition, Philadelphia (1876) 115–19
“Centennial City” and “primitive” sideshows 115–16
Central Works: Achilles and Patroklos 639–40, 640
Chamberlain, Kat 608n.22
Chanter, Tina 392
Chastain, Jessica 777, 779, 780
Chavero, Alfredo: Quetzalcóatl 263
Chavez, Law: Señora de la pinta 683, 685–6, 690–7, 692
Chestnut Street Theatre, Philadelphia 53–4, 54–5, 58, 59, 62
Chicago
Court Theatre and Rudall’s translations 764–72
Federal Theatre Project Negro unit 292
nineteenth-century Greek drama and adaptations 97–110
Legouvé’s Medea 98, 99–106
Theater of War events and audience responses 664–5
Chicago Little Theatre 97, 106, 178n.8, 184
Chicano folklore and Chavez’s Señora de la pinta 691–2
(p. 849) Chicano Movement and Moraga’s The Hungry Woman 514–24
El Plan Espiritual de Aztlán manifesto 514, 516, 517–18
Child, Lydia Maria 24
Chile: Galemiri’s Edipo asesor 620–1
Choate, E. Teresa 18
chorus
Africanist elements in Greek drama 599
in Arrufat’s Seven against Thebes 438, 440, 441, 443, 446
and audience 490, 738–9, 742–3
in Breuer’s The Gospel at Colonus 489–90
capoeira chorus in Dias Gomes’s O pagador de promessas 391–2, 398
in Classical Theater of Harlem’s Trojan Women 603, 604
Edith Hamilton on size of 275, 277–8
Heaney’s use of idiom in The Cure at Troy 824–6
hip-hop chorus in Power’s The Seven 550
and Howe’s Hippolytus 89–90
limits on numbers in Getty Museum outdoor productions 632, 739
in Mendelssohn’s Antigone 72, 73, 75, 78–9, 89
and modern dance
Duncan’s inspiration and interpretation 207, 208–9, 212, 235
Palmer Sikelianos’s productions 204–5, 210, 211, 214
and Modernist poetry 152
in Perloff’s productions 738–9, 742
in Piñera’s Cuban Electra Garrigó 362, 366, 368, 372
in Rehm’s dramaturgy 749–50, 756–7, 759–60, 759
in Toronto University productions 188, 196–7
choteo in Piñera’s Cuban Electra Garrigó 362, 369–70
Christianity
Border Studies and clash of civilizations in Cureses’ La frontera 418, 420–1, 424–31
and conflict with Romans in toga plays 139–41
and gender inequality 25–6
Pentecostalism in Breuer’s The Gospel at Colonus 478, 479, 480–1, 485, 486, 487–90
City College stadium, New York 172–3
civil rights movement and West Coast 629
civilization
and American identity 112, 125
discovery of pre-Columbian civilizations 156–7
on display at Centennial Exhibition (1876) 115–19
pre-Columbian myth and Mexican tragedy 264
and racial theory 113, 115, 297
Clapp, Susanna 834
Clarendon, Miss (actress) 73, 78, 80
Clark, Lygia 719
Clark, Michael 234, 247
Clark, William J. 118
Clarke, Jocelyn: Trojan Women adaptation 608n.27
Classic Greek Theatre of Oregon, Portland 637
“classical” drama: use of term 7
classical education
and African-American students and scholars 22, 37, 63, 290–1, 502
Dove’s slave setting 505
and Canadian identity 186
of colonizers 9, 10, 605
and cultural equality 37, 38, 502, 505
Edith Hamilton’s education 272–3
and history of slavery 809
marginalization of Latin American oeuvre 333–4
in Mexico 258, 265
Modernist move away from 149–50
in nineteenth-century America
absence of Greek drama in curriculum 134
college students 56–7
women 22–3, 60–1, 154
and Perloff’s love of ancient world 736–7
classical performance reception 766
academic study 6, 26
African-American reception issues 36–40, 495–6, 502, 595
and dance studies 233–4
and ethics 694–5
Lysistrata Project readings and contexts 576–7
in nineteenth-century Philadelphia 53–67, 79
and postcolonial theory 30–48
see also audiences
Classical Theater of Harlem, The (CTH): Trojan Women production (2008) 595, 596–7, 602–6
Classics Drama Group, Trent University, Canada 671–2
Clay, Carolyn 787
Clements, Marie: Age of Iron 676–7
Cleopatra and attitudes to antiquity 112, 125–8
sculpture at Centennial Exhibition (1876) 116, 117–19, 118
Club Atenas, Havana 355n.61
Coburn Players 177–8n.2
Cocteau, Jean: Mexican Antigone 262
Coelho, Heron 708–25
and theater-in-the-round Gota d’água—Breviário 708–21, 715
Coelho, Maria Cecília de Miranda Nogueira 402–3
Cohen, Nathan 199
Cohen, Ze’eva 756
Cohen-Cruz, Jan 662
Colakis, Marianthe 18, 19, 471n.9
Cole, Bob 17
Coliseo Nuevo, Mexico City 254
Collins, Philip 645, 646
Colman, George, the Elder: Medea and Jason 57
Colombia
Antigone and women in war-torn country 556–73
productions of Edipo rey 612–13
colonialism
Border Studies and Argentina 417–32
classical education of colonizers 9, 10, 605
and Classical Theater of Harlem’s Trojan Women 605–6
disparate histories in Americas 32–6
dual position of United States 475–6, 495–6, 768
experience of indigenous people in North America 32, 33, 35
Homer’s The Odyssey and colonial gaze 751
“internal colonization” in the Americas 35–6, 45, 475, 495–6
legacy of Spanish drama in Cuban theater 336–7, 339
mediation of reception of Greek drama in Latin America 341–2, 350
and Mexican reconfiguration of Greek drama 153
neo-colonialism of United States 31, 46–7, 768
and Breuer’s American Classicism 475–6, 485–6
and science in adaptations of Euripides 457, 458–62, 463, 469–70
and “subterranean” presence of Classics 10
color-blind casting 484, 499, 529
comedy see humor
communitas and social theater 654, 657–8, 667
community
British and Irish audiences for Heaney’s The Cure at Troy 823, 824, 827–9
community theater in Canada 671–2
and independent theater in Chicago 97
Condé, Valentina 760
Constructivism and Nemirovich-Danchenko’s Lysistrata 305–6, 306, 308, 318
Cook, George Cram “Jig” 150, 157–8, 221
The Athenian Women (with Glaspell) 158–9, 163
Cook, W. 37, 39–40
Cooke, Richard P. 310
(p. 851) Coolidge, Calvin 149–50
Cooper, Bo 784–5
Cooper, Eldris: The Tragedy of Medea Jackson 543
Cooper, James Fenimore 129n.1
Corneille, Pierre 341
Coronil, Fernando 32–3
cosmic forces and Greek tragedy in Mexico 259
costume design
and authentic Grecian dance 205
Breuer’s The Gospel at Colonus in Edinburgh 833
color in Ariza’s Antígona 567
Duncan’s Grecian tunic 207, 208, 213, 235–6
Hoffman’s costume for Salomé’s dance 142
Levy-Daniel’s Yocasta 730
Piñera’s “Cubanizing” Electra Garrigó 368
Rehm’s The Persians 753–4
timelessness of Harlem Medea 598–9, 599–600
Wilkinson’s work for Barker’s Iphigenia in Tauris 168–9, 169–70, 171–2, 173–4, 177, 527
counterculture and Lysistrata Project 582–4
Court Theatre, Chicago and Rudall’s translations 764–72
Craig, Edith 161
Cree Nation version of Antigone 674–6
cross-dressing in Euripides’ Bacchae 464–6, 466–7, 470
Cuauhtémoc and Mexican tragedy 264–5
Cuba
Bay of Pigs invasion 436, 437, 438–41, 444–5
Castro regime and Arrufat’s Seven against Thebes 434–51
modernization of theater 336–42
first performances of Greek tragedies 337–8, 337–8
Piñera’s Electra Garrigó 335, 336–7, 339, 361–77
Triana’s Medea in the Mirror 334–50, 401
Cubillán, Augusto: Antígona factotum 556
Cullen, Countee 595
Medea 685, 686–90, 687, 689, 694, 695
cultural distance and transfer of productions 835
cultural space: “shared cultural space” 553
Culture Clash
Birds production 642
Peace production 632
Culture Show, The (BBC TV program) 830, 831
cummings, ee 814
Cunningham, Merce 247
Cureses, David 375n.8
La frontera 417–32
Currie, Robert and Cassandra Float Can 700–1
Curtis, Susan 11, 525–6
Cushman, Charlotte 73, 78, 116, 124
as Ion 5, 5
as Phaedra in Howe’s Hippolytus 85, 87, 89, 90, 91
Cypess, Sandra Messinger 521
“Dahomey Village” at expositions 172
Dalzell, Andrew: Graeca Majora 56–7
dance
capoeira chorus in Dias Gomes’s O pagador de promessas 391–2
classical themes and sexual dissidence 13, 234–48
dance studies and classical performance reception 233–4
modern dance and recreation of Greek poses and dance 204–19, 233
Duncan’s interpretations 142–3, 151–2, 205–9, 235–7
Palmer Sikelianos’s study and work 204–5, 209–16
in Power’s hip-hop The Seven 552
and racial attitudes 143, 236
“Nubian style” dances in Cleopatra 126
in Rehm’s productions
Electra 748, 759
Women of Trachis—Deianeira 757–8
Salomé’s dances on nineteenth-century stage 142
in Sellars’ The Persians 783
see also ballet
D’Aponte, M. G. 484
(p. 852) Darwin, Charles 65, 113
Davenport, E. L. 85
Davenport, Fanny 126, 127–8
Davenport, Jean Margaret 58, 99
Davies, Carole Boyce 15n.5
Davis, Ossie: Purlie Victorious 485
Davis, Robert 134
de Beauvoir, Simone 336, 373
De Cecco, Sergio 375n.8
de Certeau, Michel 406
De Jong, Irene 836
de la Campa, Román 46
de la Fuente, Alejandro 342–3
de Oliveira Cézar, Inés 613
de Quincey, Thomas 71
Debussy, Claude 228, 240
Degree, Sarah 533
del Carlo, Omar 375n.8
Delacorte Theatre, Central Park, New York: Papp’s Electra x
Delacorte, Valerie 583
Deleuze, Gilles 577, 589
Delphi: Prometheus Bound performance 204–5, 209–12, 213, 275, 275, 277–8
Delsarte, François 143, 206–7, 235–6
democracy
and American identification with ancient world 112
ancient Rome on nineteenth-century stage 136
and Roman democracy 23, 53, 63, 65, 112, 136–7
Iraq war and Lysistrata Project 575–6, 588–9
Democracy 2500 project 754–5
Demos, John 27
Denishawn dance company 209, 213
Derrida, Jacques 19, 20, 225
Derwent, Clarence 277
Descalzi del Castillo, Ricardo 375n.8
Desmond Conacher Players 672
Devlin, Es 822
Diaghilev, Serge 228, 239, 240, 242, 243, 244
Diamond, David 791
Dias Gomes, Alfredo de Freitas 13, 713
O pagador de promessas (Payment as Pledged) 11, 380–99
O santo inquérito (The Holy Inquisition) 393
Díaz de la Vega, Silvestre 254
Dickens, Charles 73
Dinneford, William: Antigone production 70–1, 75–6, 77, 79
Dionysus
cult in ancient Greece 222
Duncan and Dionysian dance 208
in O’Neill’s The Great God Brown 221–9
as subject of Greek tragedy 222, 227
Disch, Thomas 486
displaced people and Antigone in Colombia 558–63
dissident sexualities and modern dance 13, 234–48
Dixon, John 407
DNAWORKS 684
Dodds, E. R. 465
Dodson, Owen 686, 689
Doerries, Bryan 654–5, 656, 658–9, 660–1, 663–6, 791
Donnelly, Lucy 278
Donner, Johann Jakob Christian: Antigone translation 70, 74
Dooley, Patrick 637
Doolittle, Hilda (H.D.) 150, 152–3, 163
Sea Garden (poems) 152
The Sword Went Out to Sea (novel) 152
translations of Euripides 152
Doran, Greg 812
Dorf, Samuel 237
Dorizas, Mike 175–6, 175
double consciousness and black identity 605–6, 688
doubling
and duality and O’Neill’s The Great God Brown 221, 223, 226–7, 228
and repetition in Colombian Antigones 556–71
Douglass, Frederick 17, 37, 297–8, 477
Doussis, Georgios 348
Dove, Rita
The Darker Face of the Earth 496, 502–11, 507, 510, 543, 596, 690, 695
racial politics and writing 497–502, 508–11
(p. 853) Dowling, Joe 4
Dreiser, Theodore: An American Tragedy (novel) 272, 281
Duarte, Anselmo 381
Dublin: Mendelssohn Antigone production 70–1, 72–3, 80–1
DuBois, W.E.B. 297, 497, 499, 500, 502, 509, 531, 605, 688
Dukakis, Olympia 632, 739, 740
Dumas, Alexandre, père 124
Duncan, Al 641
Duncan, Isadora 14, 150, 163, 234, 238, 239
and chorus 207, 208–9, 212, 235
in Greece 205–9, 216
interpretations of Greek poses and dances 142–3, 151–2, 205–9, 235–7
and Palmer Sikelianos’s work 210–12, 278
production of The Suppliant Women 208–9
Duncan, Penelope (née Sikelianos) 208–9, 210, 235, 278
Duncan, Raymond 205–6, 207, 208–9, 210, 235
Dunn, Francis 461
Dunnock, Mildred 276
Duprez and Benedict’s Minstrels 59, 62–3, 65
Durand, Evelyn 189
Durrheim, Kevin 407
Dussel, E. 8
Earle, Timothy 645
early white settler societies 31, 32, 33, 35
Eastman, Helen and Live Canon 815
Eby, Clare 281
Echavarría, Juan Manuel: Réquiem: NN (film) 559–60
Echeverría, Esteban: La cautiva 418, 419
Ecuador 375n.8
Andino Moscoso’s Edipo as satire 618–19
Eddelman, William 752
Edinburgh International Festival and Breuer’s The Gospel at Colonus 830–5, 836, 837
Edipo alcalde (film) 613
education
challenges of teaching black theater 498
racial discrimination and African-American scholars 22, 37, 297–8
Egypt see ancient Egypt
Ehrlich, Ida 320n.18
El Din, Hamza 783
Elam, Harry J. 485, 525, 526, 537, 607n.9
Elektra Project 645
Eliot, T. S. 811
Elliott, James S. 276, 277
Ellison, Ralph 11, 291, 476, 491n.8, 540n.33, 770
Else, Gerald 530
Em Cena:Ações (“On Stage; Actions!”) project in Brazil 708, 709, 710
Emerson, Ralph Waldo 23, 531
Emmanuel, Maurice 215, 234, 235
La Danse grecque antique 207, 208, 215
empire
ancient empires on nineteenth-century stage 133, 143–4
depiction in toga plays 139–41
epic poem genre 150, 151
Escalante, Ximena 266
Espinosa, Eugenio Hernández: María Antonia 350
Espinosa Domínguez, C. 368, 375n.5
essentialist notions of race 601–2
Esteban Ríos Rey, Juan 333
ethics and reception 694–5
Ethiopian Burlesques Opera Company 77
Euripides 56, 743
Bacchae x, 222, 223, 224, 225, 226–7, 229
Carson’s translation 702–3
Performance Group’s Dionysus in 69 457, 463–9, 470, 733, 747, 798–806
West Coast production 638
Barker’s touring outdoor productions 166–77, 184
Carson on 700–1, 703
in Cather’s The Professor’s House 154
The Children of Heracles 58
Sellars’ production 776–7, 784–5, 787–788
Cyclops as Rehm’s Cyclops—Nobody’s Musical 750–3, 752
Electra and Rehm’s production 747–8, 749
(p. 854) feminization of tragedies 151
Edith Hamilton’s writing on and translation of 275–6
in Harlem 595–609
H.D.’s translations 152
Hecuba
Harrison’s adaptation 820–1, 820, 822, 835–6, 835, 837
Perloff’s production 739, 740–1
Hippolytus 56, 85, 86–7, 88–9
Carson on translation 700–1
Ion 57
Iphigenia in Aulis xi, 151, 767
Houston’s The Intuition of Iphigenia 793, 794, 794
and Rudall’s Iphigenia Cycle 767, 768
West Coast productions 636, 638
Iphigenia in Tauris 151, 152–3
outdoor productions 166–73, 173–5, 174–6, 177, 527
and Reyes’s Ifigenia cruel 259
Rudall on 767–8
and Rudall’s Iphigenia Cycle 767, 768
The Madness of Herakles
and MacLeish’s 1960s adaptation 457–63, 468, 469
social theater and combat veterans 657–8
Medea viii–ix, viii–ix
Alfaro’s Bruja 643, 644
and attitudes to antiquity 112, 119–25, 350
Border Studies and Cureses’ La frontera 417–32
and Brazilian theater 713–14
Buarque de Hollanda and Pontes’s Gota d’água 333, 402–3, 708–21, 715
Cullen’s Medea 685, 686–90, 694, 695
and female resistance to slavery 63, 64, 65
first performance in Cuba 338, 338
and gender equality 100
in Latin American literature 333, 401–2, 403–5
as legendary figure 256–7
Moraga’s The Hungry Woman 401–2, 514–15, 521–4
in nineteenth-century Philadelphia theaters 56–61, 63, 65
outdoor performance at Berkeley 630
relevance to “the woman question” 59–60
sculpture at Centennial Exhibition (1876) 116–17, 117, 119, 124, 125
Take Wing and Soar production in Harlem 595–602, 599–600, 606
Triana’s Medea in the Mirror and Cuban theater 334–50, 401
Orestes
Gamel’s Orestes Terrorist 646, 647
Kott’s UC Berkeley 1960s production 634–5, 646
popularity in 1960s and 1970s x
Phoenician Women 58, 436
Suppliant Women 58
Rehm’s production 754–7, 755
Trojan Women 184, 266
anti-war message vii, x, xi, 97, 103, 167
Classical Theater of Harlem production 595–7, 602–6
Clements’s Age of Iron adaptation 676–7
Edith Hamilton’s translation 276, 280
Fleischman Theater production at Getty Villa Museum 632
MacEwen’s translation and adaptation 672, 673
outdoor productions vii, x, 166–7, 173–4, 191, 632
Rudall’s translation 768–9
Suzuki’s Japanese production in California 633, 781–2
University of Toronto production 191, 192, 194–200, 197
Europe and European culture
and Antigone in New York (1845) 73–5
hegemony and influence 545–6, 595
and colonial Americas 33–4, 37, 38
Dove’s affinity with European tradition 502, 506, 508
Eurocentrism of Lysistrata Project 588–9
and literary canon 474, 475, 476, 478–9, 482–4, 497
“shared cultural space” and Afro-European literature 553
see also colonialism
Ewans, Michael 289
(p. 855) exercises and re-enactment of Dionysus in 69 800–2, 804–5
Experimental Theatre, The 221
Fadel, Georgette 708, 710–11, 712, 714, 715, 720
Farber, Yael: MoLoRa 690
Farmer, Lydia Hoyt 126
fate: Oedipus story and Dove’s retelling 503–4
Faucit, Helen 70–1, 73, 80, 81
Faucit, John Savill: Oedipus: A Musical Drama in Three Acts 71–2
Favel, Floyd 675
Federal Theatre Project (FTP) Negro units 288–9, 292, 293
female characters viii–ix, viii–ix
doubling in Antigone productions in Colombia 556–71
as examples to women in Fuller’s treatise 23–4, 25–6
in Modernist productions 150–1
moral unacceptability to nineteenth-century audiences 135–6
strong roles and Phaedra in Howe’s Hippolytus 90
feminism
African-American writing and classical tradition 40
Canadian women poets’ adaptations and translations 673
Modernist reconfiguration of Greek drama 149, 157–63
Robinson Hagan’s translation of Lysistrata 581–2
Fernández de Córdova, Ignacio: Hermione 267n.12
Ferreira, Bibi 709, 711, 712, 717
Field Day (Irish writers group) 758, 823
film adaptations of Oedipus Tyrannus in Latin America 613
film and video recordings of performances 6–7
Fineman, Frances 321–2n.40
Fink, Robert: Lysistrata Against the War 583, 589
Finley, William (Bill) 464, 466, 467–9, 803
First Nations in Canada and Greek drama 674–7
Fischer-Lichte, Erika 819
Fisher, Mark 832
Fiske, Shannyn 59
Fitts, Donald Cummings 168, 176
Fitzball, Edward: The Greek Slave 107
Fitzgerald, F. Scott: The Great Gatsby (novel) 281
Fitzgerald, Garret 827–8
Fitzgerald, Penelope 477
Fitzgerald, Robert 477, 478, 480
Five Blind Boys of Alabama 485–6, 489, 832, 834
Flanagan, Hallie 288, 289
Flatmo, Eric 758
Flores raras (Rare Flowers) (film) 717–18
Flores, Salvador 445
Fokine, Michel 240
Foley, Helene P. 18, 194, 223, 226, 403, 635, 652, 736–7, 738, 740
folk Catholicism in Brazil 382–91
folk culture and African-American playwrights 290, 293–4
Foote, Horton 276
foreign-language productions
Nemirovich-Danchenko’s Lysistrata in Russian 304
in nineteenth century 133
Grillparzer’s Medea in German 59
Legouvé’s Medea in Italian 103–4, 123
opera and theater in German in New York 72–3, 79
Suzuki’s Japanese-American productions 633–4, 781–2
Foreman, Richard 733
Forrest, Edwin 91, 98, 105, 119, 136
Forsythe, William 234, 247
Foster, Stephen C. 531
Foucault, Michel 727
Fradinger, Moira 41
Fraser, Nancy 653–4, 658
(p. 856) Frazer, James 143
Freeman, Morgan 477, 478, 478, 485, 487
Freire, Paulo 717, 718
Freud, Sigmund 366
Freyre, Gilberto 412
Friedrich Wilhelm IV, king of Prussia 73–4
Friel, Brian 758, 823
Fritsch, Greg 646
Frogs society 10, 11, 17–18, 20–1, 22, 26
frontiers see Border Studies
Fugard, Athol 553
Fuller, Loie 207
Fuller, Margaret 73, 78, 79–80
Woman in the Nineteenth Century 10, 22–6
Fuller, Timothy 22–3
funding theater in Brazil 718–19, 720–1
Funny Thing Happened on the Way to the Forum, A (Plautus adaptation) 304
Galemiri, Benjamín: Edipo asesor (Oedipus Adviser) 620–1
Galinsky, K. 471n.9
Gambaro, Griselda: Antígona furiosa 375n.8, 400–1
Gamel, Mary-Kay 496
The Julie Thesmo Show 646
Orestes Terrorist 646, 647
and West Coast productions 645–6
Garafola, Lynn 240
García Márquez, Gabriel 572n.12, 613
Gardiner, J. 193
Garibay K., Ángel María 265, 266
Garner, Margaret 63, 64, 65
Garrettson, M. Augusta 58
Garry, Charles 93
Gasparatos, Stavros 793
El-Gasseir, Ali 646
Gates, Henry Louis, Jr. 545, 546
Gavila, Fernando 255
Gbowee, Leymah 577, 586, 589
gender divisions
conflict
in character of Triana’s Medea 345
Graham’s ballets as psychodrama 245
and Howe’s Hippolytus 93–4
confusion and reversal
cross-dressing in Euripides’ Bacchae 464–6, 466–7, 470
dissident sexualities in dance 234, 237, 239–42, 244, 247–8
Heron as Medea 119, 121–3, 124
Howe’s Hippolytus 87, 91
Ixion, or the Man at the Wheel 99
gendered space in Moscow Art Theatre’s Lysistrata 306
racism and emasculation of black men 519
sexism and homophobia in Chicano culture 519, 520
and space 406–7
and women’s role in university drama in Canada 189–90, 196–9
gender equality issues
audience participation in Theater of War project 658–9
Legouvé’s Medea and French society 99, 100–1, 102, 104–5
Modernism and moves to equality 150
press reports on ill-treated women in Chicago 102–3
references to Greek drama in Fuller’s treatise 22–6
Genet, Jean 335
geographical space
Border Studies and Cureses’ La frontera 417–32
Olavo’s Além do Rio and construction of racial Other 408–15
German opera and theater in New York 72–3, 79
Getty Villa Museum, Los Angeles: outdoor productions 630–2, 631, 701, 738–9
Ghosh, Amitav 7
Giacometti, Paul: Giudetta 141–2
Gil, Gilberto 716
Gilbert, Helen 38–9, 511n.5
Gilbert, W. S.: Pygmalion and Galatea 108
Gilder, Rosamond 273, 274, 279
Gilpin, Charles 286
Gilroy, Paul 8, 14, 47, 475–6, 605–6, 768
Giovanni, Nikki 685
Glaspell, Susan 12, 150, 157–63
The Athenian Women (with Cook) 158–9, 163
(p. 857) Fugitive’s Return (novel) 157
The Inheritors 157, 161–3
The Outside 160–1
The Road to the Temple (biography) 158
Trifles 159–60
The Verge 161
Glee (TV series) 770
Gliddon, George: Types of Mankind 113, 114, 127
Glière, Reinhold 307
globalization
Ngũgĩ’s globalectical texts 836–7
as successor to postcolonialism 45–7
and transfer of productions 836–7
Gluck, Christoph Willibald: Iphigénie operas 151
Goff, Barbara 8–9, 39, 476, 477, 484, 487, 492n.21, 497, 506
Goff, John W. 21, 22
Goings, Kenneth 37
Goldhill, Simon 490
Gomes, Alfredo Dias see Dias Gomes, Alfredo
Gonsioroski, Gisa: Antígona: o nordeste quer falar 402
Gonzalez, Mike 436, 443
González, Roberto 375n.8
González Mello, Flavio 264, 266
Goodrich, Wallace 93
Gordon, Robert 530–1
Gorney, Jay 323n.54
Gorostiza, Celestino 262
gospel and Breuer’s The Gospel at Colonus 475, 476–7, 478, 480–1, 482, 484, 485–6, 488, 769
and catharsis 486–7, 488, 490
and Edinburgh production 831–2, 834, 836
music and chorus 489–90
Gottfried, M. 325n.74
Gottschild, Brenda Dixon 600–1
Gouvêa, Célia 720
Grabowski, Christopher 645, 646
Graham, Martha 13, 215–16, 234, 244–5
Errand into the Maze (dance) 245, 246, 247–8
Hellenic Journey (dance series) 209
Night Journey (dance) 233
Graham, Shirley 292
Granger, Maude 86
Grant, Antoy: Goddess City (with Abrams) 685
Granville-Barker see Barker, Harley Granville
Grau, Jacob 123
Graves, Gary 639–40
Graves, Lucy 748
Greco, Loretta 643
Greece
performance of Greek tragedies in 274–5
performance of modern dance in 204–5, 207–8
touring companies in America ix–x, 98
Women and War Project trilogy in 794
Greek language and productions
in Ariza’s Antígona 568
early productions in Americas 56, 186–8, 302
Prometheus Bound at Delphi 277, 282–3n.8
Greek Revival architecture 55, 134
Greek Theater, Griffin Park, Los Angeles 630
Greeley, Horace 24, 26
Green, Paul 286
Greenberg, Stacey 752
Greenwich Village Theatre, New York 192
Greenwood, E. 39
Greet, Ben 178n.2
Ben Greet Players in Toronto 192
Grene, David 765–6
Griffith, D. W. 137, 170
Griffiths, E. M. 471n.13
Griffiths, G. 33, 475, 497
Grillparzer, Franz: Medea 59, 60
Grotowski, Jerzy 800
Group of Seven Canadian artists 196
Grupo Generaciones: Antígonas 556
Guarnieri, Gianfrancesco 710, 711, 717, 720
Eles não usam black-tie 709, 718
Guattari, Félix 577
Guerra, Ruy 709, 710
Guevara, Ernesto (Che) 336, 349, 374, 435–6, 445
Gulf War see Iraq War (1990-91)
Gullar, Ferreira 710, 718
Guthrie, Sir Tyrone x–xi
as director of Oedipus Rex in Stratford, Ontario 3–4, 671
(p. 858) Guthrie Theatre, Minneapolis 4
Atreus trilogy (1967–8) xi
Habermas, Jürgen 653
Habimah Theatre Company, Tel Aviv 3
Hagan, Drue Robinson see Robinson Hagan, Drue
Hairston, Eric 290
Hall, Edith 9–10, 12, 57, 58, 247, 496, 630, 635, 783–4, 831
Hall, Stuart 36
Halliwell, Stephen 530
Halm, Frederick: Ingomar the Barbarian 105, 107, 108
Hamilton, Alice 273, 281
Hamilton, Edith 271–83, 765
ceremony to honour as Athenian citizen 271–2, 282
classical education and writings 272–4
and Eva Palmer Sikelianos 272, 274–9
The Greek Way and Americanization of Greek drama 272, 274, 275–6, 279–80, 471n.6
The Roman Way 274
translations of Greek tragedies and performance 271–2, 274–9
Hamilton, Emma 233
Hammerstein, Oscar, II 308–9
Hampden, William 85, 93
Hansberry, Lorraine 595
A Raisin in the Sun 485
Happiest Girl in the World, The (musical) 302, 304, 309–12, 315, 318, 319
Harburg, E. Y. (Yip): The Happiest Girl in the World 302, 304, 309–12, 315, 318, 319
Hardwick, Lorna 39, 341–2, 497, 575
Harlem
Euripides’ productions in 2000s 595–609
Federal Theatre Project Negro unit in 288
Harlem Renaissance 286, 287, 288, 290, 296
Countee Cullen as writer of 685, 686, 687–8
Harper, E. W. 297
Harper, Frances Ellen Watkins: “The Slave Mother: A Tale of Ohio” 63
Harris, Lawren 196
Harrison, Jane Ellen 143, 152, 234, 235
Harrison, Tony: Hecuba in Britain and America 820–1, 820, 822, 835–6, 835, 837
Hart, Roxanne 748, 749
Hartigan, Karelisa 18, 276–7
Harvard University 177n.2
Oedipus Tyrannus (1881) 34, 56, 188
outdoor productions 174, 178n.2
Haviland, John 55
Hawkins, Erick 244–5, 247
Hawthorne, Nathaniel 92
Hayes, Aleta 757–8, 759
Heaney, Seamus 760, 810, 812
“amphibious survival” 837
Burial at Thebes (opera) 812, 823, 829
The Cure at Troy 821, 823–9, 834–5, 836, 837
multiple consciousnesses in poems 829
Hearst Greek Theater, UC Berkeley 630, 632–3
Hegel, Georg Wilhelm Friedrich 13, 74, 380, 389
Helms, Jesse 779
Hemispheric Institute of Performance and Politics, New York University 6
Henríquez Ureña, Pedro 258
Hepburn, Katharine 276
Hercules and Omphale (theatrical spectacle) 62
Herman, Henry: Claudian (with Wills) 108
Hernández, José: Martín Fierro 418, 419
Herodotus 143, 342
Heron, Matilda 90
as actress 99, 119–23, 124
Medea translations and adaptations 56, 58, 99, 119
Herrera, Gustavo 374
Hickey, Margarita 255
Hinkel Park amphitheater, Berkeley 638
hip hop and theater
Banks’s experimental theater 685
Power’s The Seven 543–54
Hiriart, Hugo 266
Hoerneman, Ethan 758
Hoffman, Avery Willis 773–4, 777–81
Hoffman, Gertrude 142
Hoffman, Philip Seymour 777, 780
Holanda, Ana de 721
(p. 859) Holm, Hanya 246
Holmberg, Arthur 781
Holst-Warhaft, G. 217n.7
Holzer, Hans: All’s Fair 322n.45
Homecoming: The Return of the Warrior project 652, 654–67
Homer
The Odyssey and postcolonial responses 40, 41–4, 751
and psychological reality of war 655, 791–2
Walcott’s affinity with 807–8, 810, 815
West Coast productions of epic poems 638–41
homophobia in Chicano culture 519, 520
homosexuality see same-sex desire
Horst, Louis 244
Horton, Lester 246–7
Hossack, Margaret 159–60
Houseman, John 288, 289–90, 291
Houston, Velina Hasu: The Intuition of Iphigenia 793, 794, 794
Howe, Julia Ward
The Hermaphrodite (novel) 87, 92–3
Hippolytus 85–95, 86
Passion Flowers (poems) 87, 91–2
Words for the Hour (poems) 87
The World’s Own 87, 90
Howe, Samuel Gridley 87, 91
Howells, William Dean 119
Huertas, Jorge: AntígonaS: Female Lineage 571n.1
Hughes, Francis 825
Hughes, Langston 476–7
Mulatto 689–90
Hull-House settlement and theater, Chicago 97, 106, 281
Hulme, Peter 31
humor
African Americans and humorous Greek drama 286–99, 526
choteo in Piñera’s Cuban Electra Garrigó 362, 369–70
Latin American adaptations of Oedipus Tyrannus 611, 613–21
musical theater and Aristophanic comedy 301–26
Humphrey, Doris 246
Hundley, Elliott 703
Hunter, Charlotte 189, 189
Huntington, Dan 25
Huntington, Helen 176
Hurston, Zora Neale 286–7
Lysistrata 289–91, 298
Mules and Men (novel) 287, 291
Their Eyes Were Watching God (novel) 286–7, 290
Hutton, Maurice 186, 187, 188, 198
hybridity
Africanist elements in Greek drama 599–601, 774
and postcolonial theory 479–80
Ibargüengoitia, Jorge 265
Ibsen, Henrik 732, 770
identity
classical influences on early American writers 19
double consciousness and black identity 605–6, 688
identity politics and black theater 498–502
lesbian identity and Moraga’s work and Chicano Movement 516, 517, 521–4
Imbert, Julio 375n.8
immigration: see also migration
immigration and Sellars’ Children of Herakles 784–5, 787
imperialism see colonialism; neo-colonialism
improvisation
and gospel music 832
and Rude Mechs’ re-enactment of Dionysus in 69 802
incest and Oedipus in Latin America 611, 614, 616, 619, 620–1
Inclán, Jesus Sotelo: Malintzin, Medea Americana 521
independent theater movement in Chicago 97
indigenous people and cultures
Cather’s Modernism and “indigenous Muse” 155–6
and colonial experience 32, 33, 35
Cureses’ La frontera and Argentina 417–32
and Greek drama in Canada 674–7
(p. 860) postcolonial experience and lack of engagement with Greek drama 30–1
and postcolonial theory 31, 34
primitivism and Modernism 12–13, 527
Ingram, J. S. 118–19
integration see structural integration
“internal colonization” 35–6, 45, 475, 495–6
internet
and Lysistrata Project 577–8, 584, 588
recordings of productions 6–7
Intiman Theater, Seattle 630, 634
Iraq War (1990-91) and Sellars’ Persians 635, 651, 753, 782–4
Iraq War (2003–11)
and Harrison’s Hecuba 821, 835–6
and Lysistrata Project 575, 576, 577, 587–8, 651
and McLaughlin’s Persians 635–6
and Sellars’ Othello 779–81
and Wertenbaker’s Ajax in Afghanistan 793, 794
Ireland
Heaney’s The Cure at Troy 823–9, 836
Irish-American audiences 827–9, 834–5
Irish nationalism and Dublin Antigone 80–1
Ireland, Joseph 78
Isherwood, Charles 548, 821
Ixion, or the Man at the Wheel (burlesque) 98, 99, 107
Jack, Tracy 603
Jackson, A. Y. 196
Jackson, Mahalia 486
Jackson, Mark 636–7
Io–Princess of Argos! 636
Messenger #1 636
Jacobs, Harriet 10, 11
Jacob’s Pillow school, Massachusetts 214
Janauschek, Francesca 58, 59, 60, 65, 121
Janin, Jules 124
Japan
popularity of Medea x
Suzuki’s Trojan Women 633, 781–2
Jáuregui, C. A. 8
Jebb, Richard 70
Jefferson, Thomas 37
Jesus, Clementina de 708, 719
John Hinkel Park amphitheater, Berkeley 638
Johnson, Patrick 597
Johnson, Rosamund 17
Jones, Avonia 58, 121
Jones, Rhodessa: Medea Project 498
Jones, Robert Edmond 221
Jones, S. B. 418
Jones, Susan 244
Josephus 141
Judith and Holofernes on Victorian stage 141–2
Judson Poets’ Theatre, New York: Peace production 312, 313, 314, 325n.74
justice in Greek drama
and revenge 740–1
and women 741–2
Kane, Sarah 713, 718
Kasokeo, Deanne: Antigone adaptation 674–6
Kasson, Joy 125
Kay, Hershy 323n.55
Keck, Michael 756
Keene, Laura 129n.12
Keita, M. 38
Kellard, John 192
Kelly, Mark: Operation Lysistrata (film) 579, 581–2, 589
Kennedy, Adrienne: Oedipus the King 543
Kennedy, Robert F. 272, 279, 280
Kerr, Walter 276, 302, 310
King, R. C. 36
King and I, The (musical) 311
Kipnis, Leonid (Lola) 3
Kiralfy, Imre
The Fall of Babylon 143–4
Nero or the Destruction of Rome 108
Kirchner, Cristina Fernández de 728
Klor de Alva, Jorge 31
Knowles, Caroline 408
Knowles, James Sheridan see Sheridan Knowles
Kornfeld, Lawrence 316
Kott, Jan: UC Berkeley 1960s Orestes production 634–5, 646
(p. 861) Kotzamani, Marina 588–9
Krasner, David 526, 527, 607n.9
Kristof, L.K.D. 419–20
Kroll, Jack 482
Krutch, Joseph Wood 221, 229
Ku Klux Klan 13, 170
Kushner, Tony: Angels in America 499
Kutzinski, Vera 347
La Bute, Neil 12
La Rocco, Claudia 608n.22
Lacan, Jacques and mirror stage 345–6
Lackner, Peter 579
Lahr, Bert 303
Landor, Walter Savage: Pericles and Aspasia 23–4
language
Afro-Brazilian dialect 392
Anglophone focus and neglect of Latin American literature 334
archaisms in translations 769
Border Studies and frontiers in Cureses’ La frontera 419–20, 421
Breuer and American Classicism 479, 480
and Canadian identity and nationhood 186
changing language in Argentina 615–17
in Dove’s The Darker Face of the Earth 504–5
and globalectics 837
idiom in Heaney’s The Cure at Troy 824–6
and migrants’ song of nostalgia in Satizábal’s Antígona 561–2, 567–8
multiple voices and Ariza’s Antígona 568–70
obscene language in Power’s The Seven 551
offensive language in Peace 314
rhetoric in Greek culture and drama 740
and sex in Galemiri’s Edipo asesor 620
slave dialect in Peace 315–16
translations and capturing original 688–9
Walcott and local language 809–10, 810–1
Last Days of Pompeii, The (pyrodrama) 119, 137, 138, 139
Latin
and colonizers and colonized in Mexico 33–4
Edith Hamilton’s early education 272–3
Latin America
adaptation of Greek drama in 333, 400–2
humor and Oedipus Tyrannus productions 613–25
marginalization of literature 333–4
Mexico and European colonialism 153
and postcolonial experience and discourse 8, 31, 35
migration and global relations 46
and reception of Greek drama 40–1, 341–2, 350
timing of colonialism in 32–3
Laughlin, James 737
Lauten, Flora 374
Lawler, Lillian 234
le Gendre, Dominique: Burial at Thebes opera 812
Leal, Rine 339, 375nn.3&5
Lears, Jackson 281
Lecuona, Ernesto: María la O 343
Lee, Hermione 154
Lefkowitz, Mary 774
Legouvé, Ernest
Médée (Medea) 5, 56, 58–9, 60, 72
Heron’s translation 119–23
reception in Chicago 98, 99–106, 107
Ristori as Medea 99, 101–2, 103, 104, 121, 123–5, 256–8
Lemercier, Némopucène: Agamemnon 253, 255
Leminski, Paulo 719
Leontis, Artemis 14
lesbian identity: Moraga’s work and Chicano Movement 516, 517, 521–4
Lescarbot, Marc: The Theatre of Neptune in the New World 185–6
Levy-Daniel, Héctor: Yocasta 612–13, 726–30
Lewin, John: Atreus trilogy x–xi
Lewis, Mary Edmonia: Death of Cleopatra (sculpture) 116, 117–19, 118
Lezama Lima, José 372
(p. 862) Liberia: Women In Peace-building Network 586
libraries as venues 652, 662, 663
Lifar, Serge 242, 243
Lima, Radeúnda 372
liminality
Herakles in MacLeish’s adaptation 460
Triana’s Medea and Castro’s Cuba 340, 347–8, 350
Limon, Jose 247
Lincoln, Abraham 9
Lismer, Arthur 196, 197–8
literature in Americas
classical influences 19
African-American writers and classical tradition 37, 38–40, 502–11
and colonial cultural superiority 33, 34
European influence on literary canon 474, 475, 476, 478–9, 482–4, 497
Hamilton’s Americanization of Greek tragedy and Dreiser’s An American Tragedy 272, 281
Modernist reconfigurations of Greek drama 153–7
postcolonial search for national identity 33
Rudall and literary theater 770
see also poetry
Little Theatre movement
in Canada 193, 194
Live Canon ensemble 815
local/locality see place
Locke, Alain 539
Loder, George 79
Logue, Christopher: War Music (poem) 810
Longfellow, Henry Wadsworth 92
Lorde, Audre 685
Lott, E. 525, 526
Luthiers, Les: production of Epopeya de Edipo de Tebas 613–14
Lysistrata Jones (musical) 303
Lysistrata Project and political activism 575–93, 651
and anti-Vietnam War activism 577, 581, 582–4
poster 578, 588
women’s activism and media conflation with sex strikes 584–6, 588, 589
Mabou Mines (theater collective) 474, 733
McCarthy, Lillah 166, 167, 168–71, 169, 176, 177
McCaughey, James 748–9
McClendon, Rose 288
McConachie, Bruce 136
McConnell, Fannie 291
McConnell, Justine 40
McDermott, Patrick 467, 469
MacDonald, J.E.H. 196
McDonald, Marianne 633, 645
McElroen, Christopher 596
MacEwen, Gwendolyn 672–3, 674
Macfarren, George 75
Macfarren, John 75
Macgowan, Kenneth 221
McGuinness, Martin 825
machismo in Chicano culture 519, 520
Macintosh, Fiona 9–10, 28n.3, 233–4, 236, 646
Mackaye, Steele 206
McKinney, Adam 684
McLaughlin, Ellen 581
Persians 635–6
MacLeish, Archibald: Herakles adaptation 457–63, 468, 469
McNulty, Charles 552
Macready, Charles 5
Magaldi, Sábato 720
Magaña, Sergio
Los argonautas (Cortés y la Malinche) 333, 521
Moctezuma II 263
Magic Theatre, San Francisco 643
magical powers see witchcraft
Magoon, Elias 112, 113
“Make Love Not War” slogan and Lysistrata Project 581, 582–4, 585, 589
Malamud, Margaret 34, 37, 136
“malandro” figure in Brazilian theater 393, 395
Malcolm X 495–6, 519
male ballet dancer and sexual dissidence 239–42, 242–3, 247–8
Mallarmé, Stéphane 228, 240
Manning, Susan 13, 480
Mansilla, Lucio V.: Una excursión a los indios ranqueles 418
Marchand, S. 217n.8
Marechal, Leopoldo: Antígona Vélez 375n.8, 401, 418
(p. 863) marginalized communities
Greek drama and women’s and minorities’ perspectives in Canada 671–9
Medea and racialized space in Olavo’s Além do Rio 408–15
representation in Greek drama 774
and theater in Chicago 97
Mark Taper Forum/Ahmanson Theatre, Los Angeles 629–30
Elecricidad production (2005) 642–3
Persians production (1993) 635
maroon societies in Brazil and resistance 413–14
Marowitz, C. 635
Márquez, Gabriel García see García Márquez
Marshall, C. W. 678n.5
Marshall, Niní (Marina Esther Traveso): Edipo 615–17
Marsimian, S. 623n.31, 634n.34
Martin-Harvey, John 192
Martindale, Charles 341
Martinez-Alier, Verena 347
Martinez de la Rosa, Francisco: Edipo 6, 253
Martins, Leda M. 414
masculine norms and male dancers 239–42, 242–3
mashups and Power’s The Seven 544, 546, 547–8, 549–52, 553
masks xi, 3
Africanist elements in Greek drama 599
O’Neill’s The Great God Brown 221, 223–5
Wilson’s Radio Golf 526, 537–8
Massey, Doreen 406–7
Massey, Vincent 192, 195
Maxwell, Glyn 815
Mazzotti, J. A. 31
Meagher, Robert: Herakles Gone Mad 469–70
Medea and Jason (New York pantomime, 1798) 57
Medea Project 498
media
and Lysistrata Project 578, 582
women’s activism and sex strikes 584–6, 588, 589
see also press
Medina, Louisa 139
The Last Days of Pompeii 119, 137, 138, 139
Mee, Charles L. xi, 608n.22, 731–5
Agamemnon 731
Big Love 735
collage approach 734–5
Iphigenia 2.0 731, 734
Orestes 2.0 731
The Trojan Women 731
Meineck, Peter 547, 548, 550, 654–5, 656, 657, 659, 661
Meisner, Nadine 247
melodramas 98, 105
ancient Rome and nineteenth-century plays 136–41
Parisian production of Antigone 74–5
memory
and British and American productions 834–5, 836
and Electra 743
Irish-American perceptions of Irish nationalism 827–8
Men Dancers (Shawn’s company) 209, 213, 214
Menander and challenges of performance 303–4
Mendelssohn Bartholdy, Felix: Antigone productions in Europe and New York 70–82
Mendoza, Héctor 266
Mercer, Kobena 602
Meurice, Paul 74
Mexico
contemporary engagement with Greek drama 265–6
and European colonialism 153, 264
Latin and colonizers and colonized 33–4
migrants’ song of nostalgia in Colombian Antigone 561–2, 567–8
nineteenth-century productions in 5–6
overview of Greek tragedy and national theater 252–68
pre-Hispanic myth and formation of national tragedy 263–5
Meyerhold, Vsevolod 305, 306–7
Michelakis, Pantelis 213
(p. 864) migration
and global relations 46
Mexican migrants’ song of nostalgia 561–2, 567–8
see also immigration
Milk, Harvey 629
Miller, Arthur 12, 732, 733, 812, 814
Mills, Jonathan 830
minstrel shows see blackface theater
“Mirman Baheer” (Kabul women’s literary society) 791
Miroto, Martinus 783
Mitchell, Charity 197
Mitchell, Roy 191–2, 194–200, 197
Mitchell, William 79, 80
Mnouchkine, Ariane 784
Les Atrides xi
Mobile Theatre: Electra production (1969) x
Modern Actors Staging Classics (MASC) 678n.5
Modern Language Association 22
Modernism and Greek drama 12–13, 149–63
and blackface theater 526–7
feminist reconfiguration 149, 157–63
move away from classicism 149–50
and regeneration of Cuban theater 336–42
use of masks 224
Moiseiwitsch, Tanya 3
Monk, Isabell ix
Monreal, Arenas 260
Monson, Candice 794
Montemayor, Carlos 260
Montero, Reinaldo: Medea 333, 401
Montgomery Bird, Robert
The Gladiator 98, 105, 106, 107, 108, 119, 136
Spartacus 108
Monti, Ricardo 375n.8
Montoya, María Tereza 265
Moraga, Cherríe
and Chicano Movement 514–24
The Hungry Woman: A Mexican Medea 401–2, 514–15, 521–4
“Queer Aztlán: The Re-Formation of the Chicano Tribe” (essay) 516, 517, 520
Morales, Helen 586
morality: unacceptability of Greek drama 135–6, 144
Moraña, M. 8
Morgan, Vivien 585–6
Morín, Francisco 334, 335, 369, 370, 372
Morris, Mark 234
Dido and Aeneas (ballet) 247–8, 248
Morrison, Clara 193
Morrison, Toni 12, 496, 501
Moscow Art Theatre (MAT) Musical Studio: Lysistrata musical tour in US 302, 303, 304–9, 312, 318, 319
Mostly Harmless Theatre, St Louis and Lysistrata Project 584, 585
Mounet-Sully, Jean 81
Mozart, Wolfgang Amadeus: Sellars’ Zaide 785, 786, 787
multiple versions of characters in Ariza’s Antígona 563–71, 564
Munich, Adrienne 135
Muniz, Myriam 709–10, 712, 717, 718, 719
Murray, Albert
“antagonistic cooperation” 764
The Omni-Americans 14, 764, 769
Murray, Gilbert 143, 166, 213, 769
Muscroft, Samuel J.: The Drummer Boy of Shiloh 531
music
Baibussynova’s music for Sellars’ Children of Herakles 787
capoeira chorus in Dias Gomes’s O pagador de promessas 391–2, 398
chorus in Piñera’s Electra Garrigó 366, 368
discontinuity of Carmines’s Peace 315
Harburg’s use of Offenbach in The Happiest Girl 310, 315
hip hop and Power’s The Seven 543–54
live music and Coelho’s theater-in-the-round format 711–12
Palmer Sikelianos’s approach 212
Rechtman’s score for The Persians 753
response to Breuer’s The Gospel at Colonus in Edinburgh 834
Selleck’s electronic score for Electra 748
song of nostalgia of Mexican migrants in Colombian Antigone 561–2, 567–8
(p. 865) synthetic theater and Nemirovich-Danchenko’s Lysistrata 307, 309, 318
musical theater
and Aristophanic comedy 301–26
characters and “discontinuity” 302, 313, 314–16
Fink’s Lysistrata Against the War opera 583, 589
structural integration 301, 304, 308–9, 310, 318
gospel musicals and Breuer’s The Gospel at Colonus 475, 476–7, 478, 480–1, 482, 484, 485–6, 488, 489–90, 769, 832, 834
humorous versions of Oedipus Tyrannus in Latin America 613–17
Rehm’s Cyclops—Nobody’s Musical 750–3, 752
zarzuela tradition in Cuba 343
Myers, Henry 310, 318
names: classical names in Caribbean 809
Nancy, Jean Luc 576
Nascimento, Abdias do 403–4
Nascimento, Milton 717
Nash, Ogden 322n.45
Nathan, George Jean 178n.9, 221
National Black Theater, Harlem 596
national identity
and American West 628
America’s identification with ancient world 34
as heirs to classical civilization 112
incompatibility with Greeks 22
Modernist reconfigurations of Greek drama 149–63
and Roman democracy 23, 53, 63, 65, 112, 136–7
Canadian identity and classical associations 185–6, 190, 198
Chicano Movement and Moraga’s The Hungry Woman 514–24
Greek tragedy and Mexican national theater 252–68
and Heaney’s The Cure at Troy 823, 827–9, 836
imagined communities 27
Irish nationalism and Dublin Antigone 80–1
lack of national theater in US 769–70
Mexican identity and Chicano Movement manifesto 517–18
politics and national theater in Mexico 252–3, 253–5, 257–8, 260–2
and pre-Columbian myth as tragedy 263–5
scholarship and narrative of multicultural America 26–7
National Theatre of Greece: Medea production at Berkeley 630, 633
National Veterans Art Museum, Chicago: Theater of War event 665
Neelands, Florence 189
Neely, Brooke 412
Negro Repertory Company 289
Negro units of Federal Theatre Project 288–9, 292, 293
Nemirovich-Danchenko, Vladimir: staging of Lysistrata musical 304–9
neo-colonialism of United States 31, 46–7, 768
and Breuer’s American Classicism 475–6, 485–6
Europe and literary canon 482–4
imperialism and adaptations of Euripides 457, 458–62, 463, 469–70
neoclassicism
architecture 34, 55, 134
Balanchine’s Apollo 244
Canadian productions of Greek drama 185–8
drama and reception in Philadelphia 53–67
in Mexican theater 254, 257
sculpture and barbarian women 116–19
Nerval, Gérard de 74
Nervo, Amado 258
neurasthenia and modernity 125
New Comedy and adaptation 304
New Mexico
Lincoln County range-war (1878–81) 141
penitentiary riot (1980) 683, 693
University of New Mexico Experimental Theatre productions 683, 685, 692
New York
Antigone production in 1845 and context 70–82
(p. 866) early adaptations of Greek drama in 71–2
Edith Hamilton’s translations on Broadway 276–7
reception of German-language productions 72–3, 79
New York Age (newspaper) 18, 20–1
New York City Ballet 243, 244
Newman, D. 418, 420, 421
Ng, David 547, 552
Ngũgĩ wa Thiong’o 553, 836–7
Nietzsche, Friedrich Wilhelm 13, 143, 151, 208, 234, 235
and O’Neill 221–2, 223, 227
Nijinsky, Vaslav 13, 228, 234, 239–42
L’ Après-midi d’un faune 240–2, 241, 245, 247–8
Nikoloutsos, K. P. 333–4
Ninagawa, Yukio 781
NNs (unidentified corpses in Colombia) 559–60
Noble, Thomas Satterwhite: Margaret Garner 63, 64
normativity
masculine norms and male dancers 239–42, 242–3
and subterranean realities 13
North and South and Cureses’ La frontera 421–31
Northern Ireland and Heaney’s The Cure at Troy 823–9, 836
Notícia de jornal (“News Piece”) (samba song) 716
Nott, Josiah: Types of Mankind 113, 114, 127
Noverre, Jean-Georges 233
Novo, Salvador 265
nuclear science and war in Herakles 461–2, 463
Nuñes, Carlinda Fragale Pate 400
O pagador de promessas (film) 381, 381
Obama, Barack 497–8, 509, 596, 777, 779
O’Brian, Maura 608n.22
O’Brien, Fitz-James: “Mother of Pearl” (short story) 122
O’Brien, Michael 699
O’Connor, Eugene 37
Odets, Clifford: Waiting for Lefty 296
Off-Off-Broadway theaters 312, 313–14, 318
Offenbach, Jacques 309, 310, 315
Oklahoma! (musical) 309, 310, 311
Olavo, Agostinho 13
Além do rio (Medea) 333, 402, 403–5, 408–15
Old Globe Theatre, San Diego 630
Oliveira, Joci de: Kseni – A Estrangeira (opera) 403
Oliveira Cézar, Inés de 613
Oliver, E. H. 185
Olivier, Laurence 3
Olympic Theatre, New York: Antigone burlesque 79
“omni-Americans” 9–14, 764, 769
O’Neil, Nance 142
O’Neill, Eugene 12, 157, 159, 286, 732
The Emperor Jones 403, 409
and Glaspell 157, 159
The Iceman Cometh 499
Mourning Becomes Electra 363, 366, 368
tragedy and The Great God Brown 221–9
Opera House, Chicago 101, 105
Operation Lysistrata (film) 579, 581–2, 589
opsis
and Rudall’s approach to translation 766
and Wilson’s Radio Golf 528–31, 533–4, 538–9
Orientación see Teatro de Orientación
Orrells, D. L. 37, 38, 39, 697n.13
Ortiz, Fernando 344
Ortiz, John 777, 779, 780, 783
Ortiz Bullé Goyri, A. 262
Oswald, Alice: Memorial (poem) 810
Other
barbarian women and American imagination 112–13, 167
Medea as Other 342, 403, 408, 411, 521, 601
mixed-race exoticism of Cleopatra 125–8
and Cullen’s Medea 687, 689
space and construction of racial Other 407, 408–15
outdoor performances
audience involvement in Electra 738–9, 742
outdoor theaters in California 630–2
Outside the Wire
Theater of War project 652, 791
as social theater 654–67
Oxford University Press: Iphigenia in Tauris 168
Paasi, A. 418, 420, 421
Pacheo, Patrick 833
Pain’s Firework Company: Last Days of Pompeii 137, 138, 139
Paisley, Ian 825
Paley, Petronia 598, 602, 606
Palmares maroon society in Brazil 413–14
Palmer Sikelianos, Eva 14, 209–16, 215–16, 234, 236, 237
building on Duncan’s work 210–12
collaboration with Shawn 212–15
and Edith Hamilton 272, 274–9
and gender 278–9
political sympathies and marginalization 279
Prometheus Bound production at Delphi 204–5, 209–12, 213, 275, 275, 277–8
Palmo, Ferdinand 76–7
Palmo’s Opera House, New York 70, 71, 76–8, 76, 79, 81
pampas and Argentinian nation-building 417, 422–3, 425
Pan and O’Neill’s The Great God Brown 227–8
Papaioannou, Dimitris: Medea (dance piece) 701
Papp, Joseph: Electra production (1969) x
Pappenheim, Mark 783
Paris: Antigone at Odéon (1844) 74–5, 81
Park, Robert E. 296
Parker, Theodore 25
Parkhurst, E. R. 198
Parks, Suzan-Lori 499, 528, 549
Topdog/Underdog 9, 14
parody in Piñero’s Electra Garrigó 369–70
Parthenon, Athens: modern dance at 205, 207–8
Parthenon, Nashville: Shawn at 134, 205, 206, 215
Patagonia and Argentinian nation-building 417
Payne, John Howard: Brutus or the Fall of Tarquin 61, 107
Peace (musical) 302, 312–19, 317
camp aesthetic 312–13, 316
Peixoto, Fernando 709, 719
PEN Club and writers’ rights 435
Penelope (burlesque) 98, 108
Penezzi, Alessandro 708
Pentecostal Christianity in Breuer’s The Gospel at Colonus 478, 479, 480–1, 485, 486, 487–90
Pereira, Malin 502
Performance Group
Dionysus in 69 production 457, 463–9, 470, 733, 747
Rude Mechs’ re-enactment (2009) 798–806, 799, 801, 805
performance reception see classical performance reception
Perloff, Carey 636–7, 736–45
Electra production 632, 736, 737–9, 742, 743
Hecuba production 739, 740–1
Perry, Tyler: Madea 598
Persian empire in American theater 133, 143–4
Peru: political readings of Antigone 401
Peterson, Lisa 642
Philadelphia
Acharnians production (1886) 302
theaters and Greek drama 1800–1870 53–67, 79
Phillips, Ambrose: The Distress’d Mother 136
Pindar 342
Piñera, Virgilio
Electra Garrigó 335, 336–7, 339, 361–77
“Cubanization” of story 361, 362, 367–71
unsettling of classical story 362, 363–7
Piñero, Carlos 374
(p. 868) place
idiom and Heaney’s The Cure at Troy 824–6
issues with international transfer of productions 836–7
locality and performance and evolution of Power’s The Seven 544–5, 547, 548–9, 552
regional theatrical cultures in United States 54, 769–70
and space and social relationships 405–8
Planché, James Robinson
The Deep, Deep Sea 62
extravaganzas in Philadelphia 62
Plautus 304
Players’ Club (University of Toronto) 190, 191, 192, 194, 196
Plum, Jay 288, 299n.7
Poe, Edgar Allan 24–5, 75, 78, 79
poetry
Cullen as Harlem Renaissance poet 687–8
Heaney’s multiple consciousnesses in poems 829
Heaney’s use of idiom in The Cure at Troy 824–6
Modernist poetry and Greek drama 149, 150, 152–3
Walcott on Greek drama 807–16
poets as playwrights 812–4
West Coast productions of epic poems 638–41
women poets and political resistance 791
women poets as translators in Canada 672–3
Point Loma theater, San Diego 630
political readings of classical drama
Akalaitis’s production of Trojan Women 768
ancient and contemporary commentary of Lysistrata 289–90, 291, 294–8, 304
Antigone in Latin America 400–1, 402, 556
story of rural women in war-torn Colombia 557–61
Antigone in New York and Dublin 73, 80–1
Arrufat’s Seven against Thebes and Castro regime 434–47
in Chicago 97, 103
Cook’s The Athenian Women and American politics 158–9
Dias Gomes’s O pagador de promessas 395–7
gender equality and Legouvé’s Medea 100–1, 103–4, 104–5
Gota d’água—Breviário in Brazil 717–18
humorous adaptations of Oedipus Tyrannus in Latin America 611, 613–21
Lysistrata Project and political activism 575–93, 651
Mee on Greek tragedy and state of America 731–3
Oedipus Tyrannus adaptations in Latin America 611–21
parallels in Roman dramas on American stage 136–41
Performance Group’s Dionysus in 69 463–9
Perloff’s production of Hecuba 741
Piñera’s Electra Garrigó as post-Revolutionary drama 362, 367–8, 372–3
Rehm’s productions 751–2, 754, 757
Sellars’ work 781–788
Triana’s Medea as commentary on contemporary Cuba 335–6, 340–1, 347–50, 401
and West Coast productions 635, 645, 646, 647
Pontes, Paulo
Gota d’água (with Buarque de Hollanda) 333, 402–3
Coelho’s Breviário version in Brazil 708–21, 715
popular entertainment
“bad taste” and “good taste” in Mexican theater 254–5
bufo theater in Cuba 361–2
“Centennial City” sideshows in Philadelphia 115–16
Denishawn dances in vaudeville theaters 209, 213
portrayal of African Americans and racial stereotypes 286–7, 292, 532–3, 536, 598, 606
Posner, Michael 784–5
post-memory and Irish-Americans 828, 836
post-traumatic stress disorder (PTSD) 654, 655, 743, 795–6
postcolonialism 7–8, 9
caution on use of term 7, 32
critiques and dimensions of globalization 45–7
dual position of United States 475–6, 495–6, 768
European culture and colonial Americas 33–4, 37, 38
European influence on literary canon 474, 475, 476, 478–9, 482–4, 497
postcolonial theory and classical reception 8–9, 30–48, 495–7, 768
African-American classical tradition 36–40, 495–6, 595–609
and “American exceptionalism” argument 31, 33, 36, 495–6, 647
and Breuer’s The Gospel at Colonus 474–5, 475–81, 482–4, 490, 602
Classical Theater of Harlem’s Trojan Women 605–6
hybridity and Breuer’s The Gospel at Colonus 479–80
Latin American and Caribbean classical traditions 40–4
mediation of reception of Greek drama in Latin America 341–2, 350
varieties of postcolonial in Americas 30–2, 33, 47
variety of American societies and colonial histories 32–6
racial politics and Dove in context of black writing 497–502, 508–11
Pound, Ezra 152, 811
version of Electra 736, 737
Power, Will
Flow (performance piece) 543, 549
The Seven 543–54
power
in 1960s adaptations of Euripides 468–9
activist movements and internal oppression 516–17
African-American appropriation of classical tradition 38–9
ambivalence in Dove’s The Darker Face of the Earth 505–6
of women in Levy-Daniel’s Yocasta 612–13, 728
see also colonialism
Powers, Hiram: The Greek Slave (sculpture) 134
Preisser, Alfred 596, 602–3, 604, 605–6
press
“fighting editors” during Civil War 99
support for Frogs 20–1
sympathy for ill-treated women in Chicago 102–3
see also media
“primitive” types and racial theory 113, 114, 115, 297
primitivism and Modernism 12–13, 527
Prins, Yopi 278
private sphere see separate spheres
production requirements
Banks’s productions of Cullen’s Medea and Chavez’s Señora de la pinta 695–6
communal approach to Peace 314
demands of Greek tragedy 193, 275, 277
minimal for Theater of War staged readings 660
proscenium stage 214–15
Provincetown Players 191, 221
and Glaspell’s and Cook’s plays 157, 158–9, 161
Prussia: Antigone production in Potsdam 73–5
psychoanalysis and Electra adaptations 366
psychological disorders and injury
Greek drama and relevance for soldiers 655, 660, 791–2, 795
psycho-sexual drama of Bacchae/Dionysus in 69 464–9, 470
psychotherapy in Argentinian Oedipus satire 614
public sphere see separate spheres
public venues and discussion
and Heaney’s The Cure at Troy 823, 824
(p. 870) and projects with military services 651, 652
social theater and public discourse 653–4, 655–6, 662–7
public library venues 652, 662, 663
and Sellars’ Children of Herakles 784–5, 787–788
and understanding of post-traumatic stress disorder 795–6
see also community
pyrodrama of Last Days of Pompeii 137, 138, 139
Quetzalcóatl 263, 265
Quincey, Thomas de 71
Quinn, Arthur Hobson 89
Rabillard, Sheila 676
Rabinovich, Isaak 305, 306, 308
Rachel (Rachel Félix) 89, 93, 123, 124
racial issues and discrimination 10–11, 773–4
and African-American classical tradition 37–8, 502, 595–7, 601
and African-American scholars 22, 37, 297–8
archives and inclusion of African-American experience 20, 26–7
barbarian women and attitudes to antiquity 112–30, 167
Medea as barbarian Other 342, 403, 408, 411, 521
sensuality of Cleopatra 126, 127
and Breuer’s appropriation of gospel 475, 476–7, 480–1, 482, 483, 484, 485–6, 602
and Canadian aboriginal people 675–6, 677
Chicano Movement and Moraga’s The Hungry Woman 514–24
color-blind casting problems 484, 499, 529
Cullen’s Medea in twenty-first century context 686–7, 694
dance and racial attitudes 143, 236
Frogs society and Justice Goff 20–1, 22
and globalization 46–7
and imperialism of United States 475–6
“internal colonization” and postcolonial in Americas 35–6, 45, 475, 495–6
and Modernism 150
in Olavo’s Além do rio (Medea) 403–5, 408–15
Philadelphia theatre prices 63
portrayal of African Americans and racial stereotypes 286–7, 292, 532–3, 536, 598, 606
hip-hop referencing 550–1
in post-Revolutionary Cuba 348–9
protocols of marriage and relationships in Cuba 346–7
racial politics and Dove as writer 497–502, 508–11
“scientific” theories on race 113, 114, 115, 296, 297–8
and Sellars’ Desdemona and Othello projects 776–81
and sociology in early twentieth century 296
and space 407, 408–15
in Triana’s Medea in the Mirror 343–4, 401
Racine, Jean
Andromaque 136, 254
Phèdre 85, 86–7, 88–9, 90, 93, 254
La Thébaïde 436
Radio Televisión Nacional de Colombia (RTVC): Edipo rey production 612
Radrigán, Juan 333
Raff, Emma Scott see Scott Raff, Emma
Raftopoulou, Bella: drawings 211, 211
Rains, Claude 175, 175
Ralm: Der Fechter von Ravenna (The Gladiator of Ravenna) 108
Rampersad, Arnold 501
Rankine, Patrice 18, 39
Ratiner, Steven 500, 501
Ratto, Gianni 709, 717
Rau, E. J. 101, 103
Rausch, J. 420
Ray, Sangeeta 9, 475
Rea, Stephen 823
Read, Harriette Fanning 93
(p. 871) Rechtman, Don 753
recuento de los daños, El (film) 613
Red Tattoo Ensemble: Kasokeo’s Antigone 675
Redd, Tina 292
Redgrave, Vanessa 820, 821, 835
re-enactments see Rude Mechs theater company
referencing
Hagan Robinson’s Lysistrata 581–2
hip hop and Power’s The Seven 549–51, 552, 553
regional theatrical cultures in United States 54, 769–70
rehearsal exercises and Rude Mechs’ re-enactment 800–2
Rehm, Rush 746–62
Cyclops—Nobody’s Musical 750–3, 752
Euripides’ Electra 747–8, 749
Oedipus Tyrannus 749–50, 751
Oresteia in Australia 748–9
The Persians 753–4
Sophocles’ Electra 758–60, 759, 761
Suppliant Women 754–7, 755
Women of Trachis—Deianeira 757–8
Reid, Dorian Fielding 273
Reid, Doris Fielding 271, 272–4, 276, 277, 278, 279
Reinagle, Alexander 53
Reinhold, Meyer 19, 26
religion
in Cuba 343, 344–5, 370
“low” and “high” religion in Dias Gomes’s work 382–98
and Modernism 150
slave societies and syncretic religion in Brazil 414
and toga plays 139–41
repetition in Colombian Antigone plays 556–71
Republican Rome and nineteenth-century plays 136–7
Resto, Guillermo 247, 248
Retes, Ignacio 265
Rettig, John 143
revenge and justice in Greek drama 740–1
Reyes, Alfonso
Ifigenia cruel 41, 153, 258–61, 262
“Las tres Electras 259, 260
Reyes, General Bernardo 260–1
Reynolds, Tim: Peace (with Carmines) 302, 312–19, 317
rhetoric in Greek culture and drama 740
Rich, Frank 482, 489
Richard, Carl J. 19, 26, 73, 112
Richards, Jeffrey 135
Ripstein, Arturo 333
Ristori, Adelaide 5, 58–9, 60, 65, 72, 141
in Legouvé’s Medea 121, 123–5
in Chicago 99, 101–2, 103, 104
reception in Mexico 256–8
Ritchard, Cyril 310, 311, 325n.76
ritual
and Afro-Cuban religious beliefs 344–5, 370
and Modernism and Greek drama 151–2
“ritual theater” in Cuba 350
and Schechner’s work 798–9
audience and Rude Mechs’ re-enactment 804–6
Rizk, B. J. 625nn.512
Robbins, Jerome 247
Robeson, Paul 286
Robinson Hagan, Drue: Lysistrata translation 577, 578, 579, 581–2, 589
Robson, Frederick 72
Roca, General Julio A. 417
Rodgers and Hammerstein musicals
The King and I 311
Oklahoma! 309, 310, 311
Rodrigues, Nelson 375n.8, 716
Rodríguez, Asenneh 334, 334
Rohd, Michael 653
Rome see ancient Rome
Romero Lozano, Bernardo 612
Ronnick, Michele V. 22, 26, 37
Roosevelt, Theodore 125
Rosa, Edvanda Bonavina de 413
Ross, Ronald 289
Rourke, Constance 11
Roy, Ava 641
Royal Shakespeare Company (RSC) 811–2, 820
Rucker, Mark 642
(p. 872) Rudall, Nicholas 598, 764–72
Iphigenia Cycle 767, 768, 771
Trojan Women 768–9
Rude Mechs theater company: re-enactment of Dionysus in 69 798–806, 799, 801, 805
Rule, Janice 310
Russell, Henrietta 206
Rusticatio Mexicana (Latin poem) 34
Ryan, Mike 646
Said, Edward 47, 412
Saidy, Fred 310, 318
St Barbara and Brazilian folk Catholicism 382–7, 390–1
St Denis, Ruth 209
St Jean, Shawn 281
St Lawrence Centre production of Trojan Women (1978) 672, 673
St Luke, John 79
salitas in Havana 351n.3
Sallé, Marie 233
Salomé and John the Baptist on nineteenth-century stage 141, 142–3
Salter, Susan 151
Salvaneschi, Luis María: Medea de Moquehua 333, 401
same-sex desire
in Anderson’s Liz Estrada 579–80
homophobia in Chicano culture 519, 520
homosexual relations in prisons 694
homosexuality and 1960s adaptations 457, 462–3, 466–70
in Rehm’s Cyclops—Nobody’s Musical 752–3
sexual dissidence and modern dance 237, 239–40, 242, 244, 247–8
sampling and hip-hop culture 544, 550, 553, 695
Samura, Michelle 412
San Francisco Olympians Festival 636
Sánchez, Luis Rafael 375n.8
Sanchez, Sonia: Sister Son/ji 685
Sandwell, Bernard K. 193–4
Santaliz, Pedro: El castillo interior de Medea Camuñas 333, 401
Sardou, Victorien: Cleopatra 108, 126–8
Sarmiento, Domingo Faustino: Facundo 417, 418
Sarney, José 718
Sarraín, Alberto 446
Sartre, Jean-Paul 336, 373–4
Saskatchewan Poundmaker reserve and Kasokeo’s Antigone 674, 675
Satizábal, Carlos: Antígona y actriz 556–8, 559, 560–3, 563, 565, 567–8, 570–1
Saumet, A.: Galba, The Gladiator 108
Sawyer, Mark 349
Scales, Keith 637
Scarborough, William S. 22
Schajowicz, Ludwig 338, 369
Schechner, Richard 489, 765
Dionysus in 69 production 464–9, 733, 747, 766
on restored behavior and ritual 798–9
and Rude Mechs’ re-enactment of Dionysus in 69 800–2, 803–4
Scheie, Danny 646
Schein, Seth 495
Schlesinger, Arthur 731
Schliemann, Heinrich 10
Schmidt, P. 36
Schmidt, Paul 745
scholarship 26–7
and racial discrimination 22, 37, 297–8
and West Coast productions of Greek drama 644–6
see also education
school curriculum and Classics in Americas 26
and African-American students 17, 39, 496
Mexico 258, 265
and national identity in Canada 186
Schueller, M. J. 33, 34, 36, 45, 46–7
Schwarz, Henry 9, 475
science
at Centennial Exhibition (1876) 115
in MacLeish’s Herakles production 458–62, 463, 469
Scott, Robert 189, 193
Scott Raff, Emma 189, 193
sea
and journeys and Greek drama 13–14
Walcott’s affinity with Homer 807–8, 815
(p. 873) Seaford, Richard 465
Seago, Howie 782, 783
Seattle Federal Theatre Project Negro unit 292
Seferis, Giorgos: “Mycenae” (poem) 815
Seldes, Gilbert 303, 322n.45
Sellars, Peter 773–788
Ajax production (1986) 775, 782
The Children of Herakles production (2003) 776–7, 784–5, 787–788
Desdemona and Othello projects 776–81
Mozart’s Zaide production 785, 786, 787
Persians production (1993) 635, 651, 753, 782–4, 785
Selleck, John 748
Seneca, Lucius Annaeus 341
Medea 100, 354n.41
Phaedra 86–7, 88–9
Phoenician Women 436
Seneca Falls Convention (1848) 24
Senghor, Léopold Sédar 492n.27
separate spheres
public spheres and social theater 653, 655–6, 658, 662–7
and sexual dissidence in ballet 239–40
Serban, Andrei: Fragments of a Greek Trilogy 684, 781
set design
Breuer’s The Gospel at Colonus in Edinburgh 833
Rabinovich’s Constructivist set for Lysistrata 305–6, 306, 308, 318
Rehm’s Electra at Stanford Summer Theater 758–9
Rehm’s Women of Trachis—Deianeira 757–8
timelessness of Harlem Medea 598
and water in Levy-Daniel’s Yocasta 730
setting and lack of integration in Peace 315–16
settlers 31, 32, 33, 35
Severini, G. 676–7
sex and sexuality
Biblical women on nineteenth-century stage 141–2
“Make Love Not War” slogan and Lysistrata Project 581, 582–4, 585, 589
modern dance and sexual dissidence 13, 234–48
Moraga’s lesbian identity and work 516, 517, 521–4
and Performance Group’s Dionysus in 69 464
and Rude Mechs’ re-enactment 800–2, 804
shock value of homosexual sex 466–9
in Rehm’s Cyclops—Nobody’s Musical 752–3
sensuality of Cleopatra 126, 127, 128
sex strikes as activism and Lysistrata Project 584–6, 588
women of modern dance 210
Seymour, Thomas Day 273
Shakespeare, William 264, 731–2, 741, 743
Antony and Cleopatra 126, 127
Canadian identity and popularity in 192, 195
and European colonialism 545–6
Sellars’ Desdemona and Othello projects 776–81
Welles’s Voodoo Macbeth production 293
Shange, Ntozake: for colored girls who have considered suicide / when the rainbow is enuf 485, 597
Shannon, Peggy see Women and War Project
“shared cultural space” and Afro-European literature 553
Sharpe, Jenny 33, 35, 45
Shaw, Fiona 632–3, 739
Shawn, Ted 205, 206, 209, 216, 234
collaboration with Palmer Sikelianos 212–15
Death of Adonis (dance) 213
Kinetic Molpai 213
Shay, Jonathan 655, 660, 791–2
Sheil, John see Banim: Damon and Pythias
Shephard, William (Bill) 464, 466, 467–8, 800, 803
Sheppard, Si 99
Sheridan Knowles, James 139
Caius Gracchus 119, 136
Virginius, or the Roman Father 63, 98, 106, 107, 108, 136
Sherman, Robert 99
Shields, John C. 19, 26
Shohat, Ella 31, 33, 35
(p. 874) Shotgun Players, Berkeley 637–8
The Salt Plays 638–9, 639
Showalter, Elaine 159
Siege of Oxydrache, The (spectacle) 61–2
Sienkiewicz, Henryk: Quo Vadis? 139
Sierra Leone: Trojan Women production 603–6
Sikelianos, Angelos 210, 277, 282–3n.8
Sikelianos, Eva Palmer see Palmer Sikelianos, Eva
Sikelianos, Penelope see Duncan, Penelope
Silva y Sarmiento, Pedro de: Al amor de madre no hay afecto que le iguale (There’s no love like a mother’s love) 254–5
Simic, Charlie 812
Simmons, Paulanne 608n.22
Simon, John 482, 484
Simpson, Michael 39, 476, 477, 484, 487, 492n.21, 497, 506
Sinfield, Alan 234
Singh, A. 36, 40
Slater, Niall 527
slavery
African Americans and classical reception 37
“Baiana” women in Afro-Brazilian culture 412, 413
Brazilian history and Olavo’s Além do Rio 404–5, 409–10, 412–13
Brazilian maroon societies and resistance 413–14
and candomblé religion in Brazil 384, 405
and capoeira in Brazil 391–2, 398
classical names in Caribbean 809
in Dove’s The Darker Face of the Earth 502–11, 507, 510
gospel musicals and heritage of 477, 480, 484, 769, 832
resistance and comparisons with Greek drama 63, 64, 65
slave characters in Peace 315, 318
slave trade and American postcolonialism 9
and social hierarchies in Sophocles’ Antigone 392
Smith, Bonnie 216
Smith, Iris 479
Smith, Susan 225–6, 526, 538
social change and attitudes to sexual dissidence 234–5, 244, 247, 248
social class
and Cullen’s Medea 688–9
and marriage in Cuba 346–7
racial politics and Dove as writer 501, 502, 508–9
social evolution theory and women 113–15, 297
social theater 653–4
Theater of War and Homecoming projects 654–67
sociology and theories on race 296
soldiers’ experiences
and catharsis 792
psychological trauma and relevance of Greek drama 655, 660, 791–2, 793, 795–6
and social theater