Anne Duncan

Datos Biográficos

ID5576941
NOMBREAnne Duncan
NOMBRESAnne
APELLIDODuncan
FIRMADUNCAN A
AFILIACIONESUniversity of Nebraska–Lincoln
VERIFICADONo
TOTAL DE OBRAS5
TOTAL DE CITAS0
TOTAL COMO AUTOR5
TOTAL COMO EDITOR0
PRIMER AÑO DE PUBLICACIÓN2006
AÑO MÁS RECIENTE DE PUBLICACIÓN2018
ÍNDICE H0

  • Theatre Performance After the Fifth Century

    Open AccessAnne Duncan, A A M Duncan et al.CHAPTERGreek Tragedy after the Fifth…2018

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  • A Theseus outside Athens

    Open AccessAnne Duncan, A A M DuncanCHAPTERTheater Outside Athens2012

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  • Theater Outside Athens

    Open AccessBenjamin Acosta‐Hughes, Jonathan M M Hall et al.BOOKTheater Outside Athens2012

    This volume brings together archeologists, art historians, philologists, literary scholars, political scientists, and historians to articulate the ways in which western Greek theater was distinct from that of the Greek mainland and, at the same time, to investigate how the two traditions interacted. The chapters intersect and build on each other in their pursuit of a number of shared questions and themes: the place of theater in the cultural life…

  • Nothing to do with Athens?

    Anne DuncanCHAPTERWhy Athens?2011

    This chapter examines the evidence for the composition and production of tragedies outside of Athens during the fifth century BCE as a way of challenging the view that tragedy was an expression of Athenian democratic ideology. Aeschylus wrote and produced the Aetnaeae for Hieron of Syracuse between 472-467; he may also have produced the Persians in Syracuse. Euripides wrote and produced the Archelaus for Archelaus of Macedon ca. 406, when he was …

  • Performance and Identity in the Classical World

    Open AccessAnne DuncanBOOKPerformance and Identity in the…2006

    Performance and Identity in the Classical World traces attitudes towards actors in Greek and Roman culture as a means of understanding ancient conceptions of, and anxieties about, the self. Actors were often viewed as frauds and impostors, capable of deliberately fabricating their identities. Conversely, they were sometimes viewed as possessed by the characters that they played, or as merely playing themselves onstage. Numerous sources reveal an …