- 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
Demotic Power to the People
Demotic Power to the People
The Triumph of Dimotiki, the Triumph of Medea
- (p.196) (p.197) 15 Demotic Power to the People
- Classics in the Modern World
- Oxford University Press
This chapter discusses a 1997 revival of Euripides’ Medea by the National Theatre of Greece. This groundbreaking production used as its performance text a translation by George Himonas who championed the democratic idiom of demotike over the artificially constructed katharevousa. The accessibility of his chosen language was one of the many bold components that enhanced the stylized, but emotive, performance style of the production. The pared down choice of language was attuned to the stark production values of this Medea that distanced its audience, which had to rely on the familiarity of the language to balance the surrealism of the other components of the performance. The director’s choice of a popular actress to embody Euripides’ heroine marked a more popularizing tendency in Modern Greek revivals of ancient drama. This production offered spectators a truly democratic treatment and reception of classical Greek tragedy on the Modern Greek stage.
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