Die dramatische Zeit in Senecas Tragödien (2024)

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Mnemosyne

Schwazer, O.: ‘Senecas Thyestes und der „Fürstenspiegel“ für Nero’

2016 •

Dr Oliver C. Schwazer

For several centuries, there has been a vivid discussion on the purpose of Seneca’s tragedies. Throughout the 20th century, it has been questioned multiple times why Seneca philosophus would engage in writing drama as well. While contributions on the intertextual relationship between his philosophical treatises, mainly the Letters to Lucilius, and his tragedies, which have shown points of intersections in terms of Stoic dogmas, are widely accepted, the question of addressee has been controversial disputed. In this article (forthcoming in Mnemosyne) I analyse the relationship between the prose treatise De clementia and the tragedy Thyestes, highlighting the similarities in content and finally proposing an interpreta¬tion of the latter as “Mirror” for the Emperor Nero. In due course, I shall point out that the two oeuvres are complementary and follow the same purpose: Addressed at Nero, they aim at teaching him Stoic doctrines about the ideal emperor’s behaviour.

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“Variationen der Wut in Senecas Tragödien: Hercules furens und Thyestes.” Seneca und das Drama der Antike, edited by Christian Klees and Christoph Kugelmeier. Saarbrücken: Verlag Alma Mater, 2020. 177-204

Variationen der Wut in Senecas Tragödien Hercules furens und Thyestes

2020 •

Jula Wildberger

This paper is another contribution to understanding an illness of our time: toxic rage that destroys self and others. Following in the footsteps of Claudia Wiener, Martha C. Nussbaum, and others, I read Seneca's Hercules furens and Thyestes as anger plays. Iuno and Atreus illustrate the ugliest type of anger Seneca discusses in his treatise: the extreme derangement of the third motus (De ira 2.4), insatiable and reasonless craving for punishment combined with the false, inflated sense of greatness analyzed in De ira 1.20f. For the psychology of rage, see also https://www.academia.edu/96545695/La_raison_et_la_col%C3%A8re_la_r%C3%A9futation_de_la_m%C3%A9triopathie_dans_le_De_ira_de_S%C3%A9n%C3%A8que_1_5_21 For the connection to our times, see also https://www.academia.edu/103468125/Is_there_a_Male_Will_in_Stoicism_The_Case_of_Aggression The published paper may be a bit difficult to come by. Don't hesitate to get in touch if you're interested.

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Herakles als tragischer Held in und seit der Antike, in: H. Flashar (Hrsg.), Tragödie - Idee und Transformation, Colloquium Rauricum 5, Stuttgart - Leipzig 1997, 307–331

1997 •

Heinz-Günther Nesselrath

Discusses both ancient and modern dramas which present Heracles and his striving for superhuman status, but also his all-too-human failures (Sophocles, Euripides, Seneca and Pseudo-Seneca, Jean Rotrou, Frank Wedekind, Ezra Pound, Archibald MacLeish, Friedrich Dürrenmatt, Heiner Müller).

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Kirichenko A. Der imaginäre Bühnenraum in Senecas Hercules Furens. Philologia Classica 2016, 11(2), 258–268.

Der imaginäre Bühnenraum in Senecas Hercules Furens. Philologia Classica 2016, 11(2), 258–268

2016 •

Philologia Classica

The goal of this article is to analyze the construction of space in Seneca’s Hercules Furens. It argues that the tragedy establishes a multi-tiered structural analogy among three conceptual domains — 1) the world of supernatural myth, which cannot be ‘shown’ on stage and which, for that reason, is described in rhetorically overblown ekphrastic passages, 2) the visually perceptible world of the stage action, and 3) the abstract world of ‘human life’. These three conceptual domains form an imaginary hybrid space within which philosophically relevant thought is not so much formulated as staged, thereby producing an emotionally powerful — and potentially transformative — effect on the recipient. In addition to offering a new interpretation of Hercules Furens, this article thus sheds some important light on the vexed issue of the philosophical intent of Senecan tragedy in general.

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Der imaginäre Bühnenraum in Senecas Hercules Furens. Philologia Classica, 11.2 (2016)

The goal of this article is to analyze the construction of space in Seneca's Hercules Furens. It argues that the tragedy establishes a multi-tiered structural analogy among three conceptual domains – 1) the world of supernatural myth, which cannot be 'shown' on stage and which, for that reason, is described in rhetorically overblown ekphrastic passages, 2) the visually perceptible world of the stage action, and 3) the abstract world of 'human life'. These three conceptual domains form an imaginary hybrid space within which philosophically relevant thought is not so much formulated as staged, thereby producing an emotionally powerful – and potentially transformative – effect on the recipient. In addition to offering a new interpretation of Hercules Furens, this article thus sheds some important light on the vexed issue of the philosophical intent of Senecan tragedy in general.

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zeta-textperformances

Von der Rezitation auf die Bühne. Ein übersetzungstheoretischer Werkstattbericht zu zeitgenössischen deutschen Theaterversionen von Senecas Tragödien

Christoph Kugelmeier

Seneca’s dramas brood in the shadows of the Attic tragedies, which are frequently played in theatres all over the world. To this day, it is controversial whether Seneca’s plays were intended for the stage or only for recitation. But the enormous after-effect of these texts in the literature devoted to European theatre (above all in Shakespeare) shows that they themselves are not only part of our cultural heritage, but that it is worthwhile to consider how one might propose a more contemporary staging of these works in order to afford an authentic reception for the first time – and indeed, for a broader public. Admittedly, the texts can and will only find a larger audience if Seneca’s recitation dramas are brought to the contemporary stage in a form and language appropriate to this audience. In a project undertaken by Saarbrücken Classical Philology since 2011, for the first time directly playable German translations are to be produced for this purpose. These take into account the dr...

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Zwischen Apoll und Dionysos: Chöre im 20. Jahrhundert, A. Egel (hrsg.), Rombach, Baden-Baden 2022, 51-69

Zum Chor-Modell in den Tragödien Senecas im antiken Rom und im 20. Jahrhundert

2022 •

Anna Novokhatko

Wie am Beispiel von Senecas Oedipus argumentiert wurde, stellt die Integration des Chors im 20. Jh. eine Herausforderung dar, die sich in den Proben, Suchen und Versuchen von Jean Cocteau und später vor allem von Ted Hughes und Hugo Claus in Produktionen klassischer Stücke widerspiegelt. Einerseits wirft die Geschichte der zwei Weltkriege selbst eine Frage über das Verhältnis zwischen dem Individuum/Heroen/Helden einerseits und der Gemeinde/dem Volk andererseits auf. Um sich mit dieser Frage auf der Bühne auseinanderzusetzen ist der dramatische Chor ein probates Instrument, das Hugo Claus beispielsweise im Ödipus einsetzt. Andererseits nutzen die Regisseure und Dramatiker die Umsetzung des Chors dazu, ein Gesamtkunstwerk zu schaffen, in dem das Stück die Zuschauer auf zeitgenössische Weise anspricht und verwirklichen damit ihre jeweilige Vision, jeden Aspekt von Performance, Bewegung, Musik, Dekor, Diktion und Schauspiel darin zu integrieren. Das Publikum wird zusätzlich zur Auseinandersetzung und zu Erkenntnissen angeregt, wo es Parallelen zwischen den Stücken, beispielsweise auch von Brecht, ziehen kann.

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Dignus adventu tuo. Die infernale Pervertierung imperialer Festauftritte in Senecas Thyestes

Bernice Fillafer Kaminskij

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Hermes

Der Weg zur Anagnorisis. Eine personenbezogene Analyse der Kompositionsstrukturen in Senecas ,Oedipus'

2009 •

Lisa Cordes

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Lehrreiche Trugbilder: Senecas Tragödien und die Rhetorik des Sehens

Alexander Kirichenko

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Die dramatische Zeit in Senecas Tragödien (2024)
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