Key words: Woody Allen, Greek tragedy, classical tradition, Crimes and Misdemeanors, Mighty Aphrodite, Melinda & Melinda, Match Point

Many studies have already paid attention to what is called the “serious films” by Woody Allen and, among them, it is also worth mentioning the one written by the very Pau Gilabert Barberà (2006), which is devoted to the Sophistic legacy underlying in his opinion the screenplay of Crimes and Misdemeanors. On this occasion, his aim is to analyse the fluctuating sight of the American director with regard to the Greek tragedy. Indeed, Gilabert is convinced that, only in this way, it is possible to reveal the true Allen’s sympathy with the tragic spirit of the Greeks, as well as to understand his urge to present that ancient literary genre as a paradigm with the help of which one can evaluate the greatness and misery of our contemporary world.

Key words: Woody Allen, Greek tragedy, classical tradition, Crimes and Misdemeanors, Mighty Aphrodite, Melinda & Melinda, Match Point

Many studies have already paid attention to what is called the “serious films” by Woody Allen and, among them, it is also worth mentioning the one written by the very Pau Gilabert Barberà (2006), which is devoted to the Sophistic legacy underlying in his opinion the screenplay of Crimes and Misdemeanors. On this occasion, his aim is to analyse the fluctuating sight of the American director with regard to the Greek tragedy. Indeed, Gilabert is convinced that, only in this way, it is possible to reveal the true Allen’s sympathy with the tragic spirit of the Greeks, as well as to understand his urge to present that ancient literary genre as a paradigm with the help of which one can evaluate the greatness and misery of our contemporary world.

Key words: Woody Allen, Greek tragedy, classical tradition, Crimes and Misdemeanors, Mighty Aphrodite, Melinda & Melinda, Match Point

Many studies have already paid attention to what is called the “serious films” by Woody Allen and, among them, it is also worth mentioning the one written by the very Pau Gilabert Barberà (2006), which is devoted to the Sophistic legacy underlying in his opinion the screenplay of Crimes and Misdemeanors. On this occasion, his aim is to analyse the fluctuating sight of the American director with regard to the Greek tragedy. Indeed, Gilabert is convinced that, only in this way, it is possible to reveal the true Allen’s sympathy with the tragic spirit of the Greeks, as well as to understand his urge to present that ancient literary genre as a paradigm with the help of which one can evaluate the greatness and misery of our contemporary world.

Key words:Woody Allen, Greek tragedy, classical tradition, Cassandra’s Dream, cinema

Unlike Crimes and Misdemeanors or Match Point, which approached similar themes, Cassandra’s Dream by Woody Allen (2007) had no good reviews. However, according to the author of this article, for those who analyse this screenplay from the perspective of the legacy of Greek tragedy in Western culture, its merits should not be underestimated. The frequent references to Greek tragedy, either titles or characters, prove that the American director wants to present Cassandra’s Dream as a contemporary instance of Greek tragedy, and contemporary men and women as victims of an almost almighty and mocking tragic irony. The author’s aim is also to show the evident similarities of this screenplay to Match Point and, above all, to Crimes and Misdemeanors, the matrix screenplay for the three films.

Key words: Woody Allen, Greek tragedy, classical tradition, Cassandra’s Dream, cinema

Unlike Crimes and Misdemeanors or Match Point, which approached similar themes, Cassandra’s Dream by Woody Allen (2007) had no good reviews. However, according to the author of this article, for those who analyse this screenplay from the perspective of the legacy of Greek tragedy in Western culture, its merits should not be underestimated. The frequent references to Greek tragedy, either titles or characters, prove that the American director wants to present Cassandra’s Dream as a contemporary instance of Greek tragedy, and contemporary men and women as victims of an almost almighty and mocking tragic irony. The author’s aim is also to show the evident similarities of this screenplay to Match Point and, above all, to Crimes and Misdemeanors, the matrix screenplay for the three films.

Key words: Woody Allen, Greek tragedy, classical tradition, Cassandra’s Dream, cinema

Unlike Crimes and Misdemeanors or Match Point, which approached similar themes, Cassandra’s Dream by Woody Allen (2007) had no good reviews. However, according to the author of this article, for those who analyse this screenplay from the perspective of the legacy of Greek tragedy in Western culture, its merits should not be underestimated. The frequent references to Greek tragedy, either titles or characters, prove that the American director wants to present Cassandra’s Dream as a contemporary instance of Greek tragedy, and contemporary men and women as victims of an almost almighty and mocking tragic irony. The author’s aim is also to show the evident similarities of this screenplay to Match Point and, above all, to Crimes and Misdemeanors, the matrix screenplay for the three films.

Key words: Woody Allen, Greek tragedy, classical tradition, Crimes and Misdemeanors, Oedipus, cinema

Can we read the screenplay of Crimes and Misdemeanors by Woody Allen only relating it –from the perspective of the classical tradition- to the character of Oedipus and the Greek tragedy? The aim of this article is to pay attention to its probable connection with the theories of great Sophistic philosophers such as Protagoras, Critias and Antiphon.

Key words:Woody Allen, Greek tragedy, classical tradition, Crimes and Misdemeanors, Oedipus, cinema

Can we read the screenplay of Crimes and Misdemeanors by Woody Allen only relating it –from the perspective of the classical tradition- to the character of Oedipus and the Greek tragedy? The aim of this article is to pay attention to its probable connection with the theories of great Sophistic philosophers such as Protagoras, Critias and Antiphon.

Key words: Woody Allen, Greek tragedy, classical tradition, Crimes and Misdemeanors, Oedipus, cinema

Can we read the screenplay of Crimes and Misdemeanors by Woody Allen only relating it –from the perspective of the classical tradition- to the character of Oedipus and the Greek tragedy? The aim of this article is to pay attention to its probable connection with the theories of great Sophistic philosophers such as Protagoras, Critias and Antiphon.

Aquest article està pendent de publicació / Key words: Orpheus Descending, Tennessee Williams, classical tradition, classical mythology, Greek tragedy /As with other Tennessee Williams dramas, in his Orpheus Descending the archetypal myth he employs, much more than merely an erudite reference, serves as a key structural element. Even so, the mythical model with its millenary tradition does not overwhelm the author’s creative impulse. It allows him instead to create a highly personal reworking of the myth without devaluing its essence. Precisely this accomplishment is the focus of the critical analysis presented here, which argues that a careful reading of the play ought to take into account not just the tradition of the myth itself, but also the secular tradition of Greek tragedy. The playwright willfully cleaves to this tradition with fidelity and originality as he populates his drama with many of its essential features as described in Aristotle’s Poetics. Thus we have a double lesson in the Classical Tradition that is within the grasp of only those dramatists who are well schooled in the practice of their craft and endowed with a sense of creative freedom that is both uninhibited and audacious. 

Artículo pendiente de publicación /  Key words: Orpheus Descending; Tennessee Williams; classical tradition; classical mythology; Greek tragedy / As with other Tennessee Williams dramas, in his Orpheus Descending the archetypal myth he employs, much more than merely an erudite reference, serves as a key structural element. Even so, the mythical model with its millenary tradition does not overwhelm the author’s creative impulse. It allows him instead to create a highly personal reworking of the myth without devaluing its essence. Precisely this accomplishment is the focus of the critical analysis presented here, which argues that a careful reading of the play ought to take into account not just the tradition of the myth itself, but also the secular tradition of Greek tragedy. The playwright willfully cleaves to this tradition with fidelity and originality as he populates his drama with many of its essential features as described in Aristotle’s Poetics. Thus we have a double lesson in the Classical Tradition that is within the grasp of only those dramatists who are well schooled in the practice of their craft and endowed with a sense of creative freedom that is both uninhibited and audacious.

This article has not been published yet / Key words: Orpheus Descending; Tennessee Williams; classical tradition; classical mythology; Greek tragedy. / As with other Tennessee Williams dramas, in his Orpheus Descending the archetypal myth he employs, much more than merely an erudite reference, serves as a key structural element. Even so, the mythical model with its millenary tradition does not overwhelm the author’s creative impulse. It allows him instead to create a highly personal reworking of the myth without devaluing its essence. Precisely this accomplishment is the focus of the critical analysis presented here, which argues that a careful reading of the play ought to take into account not just the tradition of the myth itself, but also the secular tradition of Greek tragedy. The playwright willfully cleaves to this tradition with fidelity and originality as he populates his drama with many of its essential features as described in Aristotle’s Poetics. Thus we have a double lesson in the Classical Tradition that is within the grasp of only those dramatists who are well schooled in the practice of their craft and endowed with a sense of creative freedom that is both uninhibited and audacious.

Aquest article està pendent de publicació

Key words: Janusz Glowacki, Antigone, Greek tragedy, classical tradition, New York, American theatre

The tragedy of people forced to emigrate to distant countries to seek personal safety and a decent livelihood is in itself a weighty topic – even without associating it with the illustrious name Antigone – above all when death and an indecent burial affect not an immigrant but a native citizen with full civil rights. However, the author makes able dramatic use of the heroic defence of humanity and justice for which the mythical Greek heroine is well known. His play is thus an adroit exercise in analogous themes guaranteed to tug at the conscience of spectators and readers, opening their eyes to the dignity of the unprotected of our times and of time immemorial.

Este artículo está pendiente de publicación

Key words: Janusz Glowacki, Antigone, Greek tragedy, classical tradition, New York, American theatre

The tragedy of people forced to emigrate to distant countries to seek personal safety and a decent livelihood is in itself a weighty topic – even without associating it with the illustrious name Antigone – above all when death and an indecent burial affect not an immigrant but a native citizen with full civil rights. However, the author makes able dramatic use of the heroic defence of humanity and justice for which the mythical Greek heroine is well known. His play is thus an adroit exercise in analogous themes guaranteed to tug at the conscience of spectators and readers, opening their eyes to the dignity of the unprotected of our times and of time immemorial.

This article has not been published yet

Key words: Janusz Glowacki, Antigone, Greek tragedy, classical tradition, New York, American theatre

The tragedy of people forced to emigrate to distant countries to seek personal safety and a decent livelihood is in itself a weighty topic – even without associating it with the illustrious name Antigone – above all when death and an indecent burial affect not an immigrant but a native citizen with full civil rights. However, the author makes able dramatic use of the heroic defence of humanity and justice for which the mythical Greek heroine is well known. His play is thus an adroit exercise in analogous themes guaranteed to tug at the conscience of spectators and readers, opening their eyes to the dignity of the unprotected of our times and of time immemorial.

Aquest article està pendent de publicació

Key words: Jules Dassin, Phaedra, Greek tragedy, Greek Mythology, classical tradition, cinema, classical tradition in cinema

Through a superb translation of Euripides’s Hippolytus to the world of 20th century Greek shipping magnates, Jules Dassin and Margarita Liberaki demonstrate in their 1962 film Phaedra the currency of the ancient myth owing to the universality of its themes and the timelessness of its message. Without straying substantially from Aristotle’s views on Greek tragedy expressed in his Poetics, in this paper we undertake a detailed analysis of a filmed tragedy in which the great error (megálē hamartía) of the chief protagonists, far from disassociating ancient Greece from modern times, confirms the convergence of both Greek cultures through displays of excess (hýbris), repeated premonitions, tragic irony, and instances of irrational behavior, guilt and tragic errors along with recognition (anagnṓrisis) accompa

Este artículo está pendiente de publicación

Key words: Jules Dassin, Phaedra, Greek tragedy, Greek Mythology, classical tradition, cinema, classical tradition in cinema

Through a superb translation of Euripides’s Hippolytus to the world of 20th century Greek shipping magnates, Jules Dassin and Margarita Liberaki demonstrate in their 1962 film Phaedra the currency of the ancient myth owing to the universality of its themes and the timelessness of its message. Without straying substantially from Aristotle’s views on Greek tragedy expressed in his Poetics, in this paper we undertake a detailed analysis of a filmed tragedy in which the great error (megálē hamartía) of the chief protagonists, far from disassociating ancient Greece from modern times, confirms the convergence of both Greek cultures through displays of excess (hýbris), repeated premonitions, tragic irony, and instances of irrational behavior, guilt and tragic errors along with recognition (anagnṓrisis) acco