In contrast to earlier scholarly work on Achilles of the Homeric epics, this study examines how one of the most popular figures of Greek mythology was portrayed on the tragic stage of fifth-century Athens. Pantelis Michelakis asserts that dramatists persistently appropriated Achilles to address concerns ranging from heroism and education to individualism and gender. The book considers the complete corpus of extant Greek tragedy, with particular attention paid to Aeschylus' Myrmidons and Euripides' Hecuba and Iphigenia at Aulis.

In contrast to earlier scholarly work on Achilles of the Homeric epics, this study examines how one of the most popular figures of Greek mythology was portrayed on the tragic stage of fifth-century Athens. Pantelis Michelakis asserts that dramatists persistently appropriated Achilles to address concerns ranging from heroism and education to individualism and gender. The book considers the complete corpus of extant Greek tragedy, with particular attention paid to Aeschylus' Myrmidons and Euripides' Hecuba and Iphigenia at Aulis.

Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon. In performance, translation, adaptation, along with sung and danced interpretations, it has been familiar in the Greek world and the Roman empire, and from the Renaissance to the contemporary stage. It has been central to the aesthetic and intellectual avant-garde as well as to radical politics of all complexions and to feminist thinking. Contributors to this interdisciplinary collection of eighteen essays on its performance history include classical scholars,...

Greek Tragedy on Screen considers a wide range of films which engage openly with narrative and performative aspects of Greek tragedy. This volume situates these films within the context of on-going debates in film criticism and reception theory in relation to theoretical or critical readings of tragedy in contemporary culture. Michelakis argues that film adaptations of Greek tragedy need to be placed between the promises of cinema for a radical popular culture, and the divergent cultural practices and realities of commercial films, art-house films, silent cinema, and films for television,...