- Title Pages
- List of Figures
- List of Contributors
- 1 Questioning the Democratic, and Democratic Questioning
- 2 Against the ‘Democratic Turn’
- 3 The Divided Legacy of <i>Politikon</i>
- 4 A Democratic Turn in the Reception of the Roman–Dutch Law of Treason in South Africa?
- 5 Labour and the Classics
- 6 Appropriations of Cicero and Cato in the Making of American Civic Identity
- 7 Classics as a Weapon
- 8 Civilization and Savagery at the 1893 World’s Columbian Exposition
- 9 The Expansion of Tragedy as Critique<sup>1</sup>
- 10 Investigating American Women’s Engagements with Graeco-Roman Antiquity, and Expanding the Circle of Classicists
- 11 The Democratic Turn in (and through) Pedagogy
- 12 Classics in West African Education
- 13 Back to the <i>Demos</i>
- 14 Can ‘Democratic’ Modern Stagings of Ancient Drama be ‘Authentic’?
- 15 Demotic Power to the People
- 16 Aristophanic Performance as an All-inclusive Event
- 17 Constructing Bridges for Peace and Tolerance
- 18 <i>The Silence of Eurydice</i>
- 19 Ovidian Metamorphoses in the Fiction of A. S. Byatt
- 20 Catullus and Lesbia Translated in Women’s Historical Novels
- 21 Female Voices
- 22 Heroes or Villains
- 23 Democracy and Popular Media
- 24 Practising Classical Reception Studies ‘in the Round’
- 25 In Search of Ancient Myths
- 26 Truth, Justice, and the Spartan Way
- 27 A ‘Democratic Turn’ at the Ashmolean Museum
- 28 All Mod Cons? Power, Openness, and Text in the Digital Turn
Back to the Demos
Back to the Demos
An ‘Anti-classical’ Approach to Classics?
- (p.170) (p.171) 13 Back to the Demos
- Classics in the Modern World
- Oxford University Press
This chapter discusses theatre and education in the context of present-day Italy: first, it outlines the context of national schools and universities. Secondly, it analyses some case studies—classical plays adapted and staged by school students—which are at the interface between education experiences and theatre productions. These are unconventional, and important for their particularly ‘democratic’ and non-hierarchical pedagogical methods. Then, it focuses on two adaptations by Teatro delle Albe (Ravenna). Such collective experiences and participation can affect our ways of perceiving, re-writing, and staging an ancient text. The Chorus in particular, as a symbol of a ‘democratic’ model often finds little place in those theatre companies that have a hierarchical structure, with directors and leading actors deciding almost everything. Finally, the chapter suggests that further collaborative research is needed to investigate precisely how pedagogical experiences of this kind could operate in different countries and whether, and how, they actually influence the actors, spectators, and other participants.
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