By G. M. Kirkwood

The reader will locate in bankruptcy I an outline of the association and objective of this e-book. the following i would like purely say a number of phrases of clarification and discharge the friendly and significant responsibility of acknowledging help.
The ebook is especially a philological research of definite elements of Sophocles’ performs and is intended for the eye of these who're themselves engaged within the learn of the performs. yet seeing that, except the bankruptcy on diction, i've got often given quotations in translation, the e-book might be usable by way of those that learn Sophocles in translation in simple terms. My line references and quotations stick with the Oxford Classical textual content of A. C. Pearson.

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Likewise, for the inveterate, itinerant spectator, seeing performance in many different places changes the experience each time, resituating our relation to the inside and outside markers of community, of the peculiarly "insider" knowledge that influences reception, and to local, as well as translocal social practices of spectatorship. For some people, the commu­ nity that supports the theater is more important than the play; for others, the performance provides an excuse for social congress, to be seen at or to participate in an event.

I'm not interested in constructing a utopia, although many of us who engage politically with nonprofit organizations work to devise such sys­ tems through our memberships on boards of directors and through the idealism of social service groups that want to do things differently. As film theorist Richard Dyer says, in his chapter on enter­ tainment and utopia, "Entertainment does not . . It presents ... what utopia would feel like rather than how it would be organized. "3 1 These feelings and sensibilities, in performance, give rise to what I'm calling the utopian performative.

Con­ nected and responsible: without that, "free and equal" is less attractive than we once thought it would be. [Civil society] requires a new sensi­ tivity for what is local, specific, contingent-and, above all, a new recognition (to paraphrase a famous sentence) that the good life is in the details/6 An ongoing audience is perhaps a more receptive audience, attuned to the vocabulary of the theatrical moment and attentive to the responses of its fellows. "77 Esslin describes what I'm calling a utopian performative; does the "receptive audience" create the necessary condition for such moments?

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