- 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
The Silence of Eurydice
The Silence of Eurydice
Case Study for a ‘Topology of Democracy’
- (p.245) 18 The Silence of Eurydice
- Classics in the Modern World
- Oxford University Press
Areas that are opened up for discussion in this chapter relate to a proposed topology of ‘democracy’ within the field of practice-as-research in performance, in which the project The Silence of Eurydice acts as a case study. The project itself, which took place in Nicosia in Cyprus, the last divided city in Europe, is first outlined. In particular the notion of a ‘new aesthetic’ for creating performance in a conflict zone is explicated as an attempt to democratize not only the subject matter of performance, but also the processes of creating it, and the structural form(s) it might take. Further discussion seeks to place the project within its broader aim, that is, the application of the project’s experiments within the public domain—over a period of time—to invite the reflective and fluid participation of communities from both sides of a conflict zone. Ultimately the project seeks to affect power relations and dialogue at a micro-political level.
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