Keria: Studia Latina et Graeca <div class="c9 bp1"> <div id="cb99" class="cb-text"> <p class="align-justify"><em>Keria&nbsp;</em>(Greek for "honeycomb") is Slovenian journal for all fields of Greek and Latin studies. It is committed to fostering dialogue between scholarship, teaching, and other areas of culture. It is issued twice a year and publishes scholarly research, translations, didactic contributions, essays, book reviews, and other submissions relevant to the study of classical antiquity and its reception, Latin and Byzantine Middle Ages, Latin humanism, and Modern Greek language and culture.</p> </div> </div> Znanstvena založba Filozofske fakultete en-US Keria: Studia Latina et Graeca 1580-0261 <p>Authors who publish with this journal agree to the following terms:</p><ol start="1"><li>Authors are confirming that they are the authors of the submitting article, which will be published (print and online) in <em>Keria </em>by Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana, Faculty of Arts, Aškerčeva 2, 1000 Ljubljana, Slovenia). Author’s name will be evident in the article in journal. All decisions regarding layout and distribution of the work are in hands of the publisher.</li><li>Authors guarantee that the work is their own original creation and does not infringe any statutory or common-law copyright or any proprietary right of any third party. In case of claims by third parties, authors commit their self to defend the interests of the publisher, and shall cover any potential costs.</li><li>Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="" target="_new">Creative Commons Attribution-ShareAlike 4.0 International License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</li><li>Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</li><li>Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.</li></ol> Editorial <p>This volume explores the topic of Classics and Communism in Theatre, offering a foretaste of a book to be published by the end of the year. It begins with a case study from regions beyond Soviet Europe, to give prominence to the research less frequently treated by scholars studying communism.</p> Elżbieta Olechowska ##submission.copyrightStatement## 2018-11-22 2018-11-22 20 3 5 6 10.4312/keria.20.3.5-6 American Communist Idealism in George Cram Cook’s The Athenian Women (1918) <p>The Athenian Women, written by the American George Cram Cook with input from Susan Glaspell, is a serious, substantial play drawing chiefly on Lysistrata and Thesmophoriazusae. It premiered on March 1st 1918 with the Provincetown Players. Cook was convinced of parallels between the Peloponnesian War and World War I. He believed there had been communists in Periclean Athens comparable to those who were making strides in Russia (in 1922 to become the USSR) and the socialists in America, amongst whom he and Glaspell counted themselves. The paper examines the text and production contexts of The Athenian Women, traces its relationships with several different ancient Greek authors including Thucydides as well as Aristophanes, and identifies the emphatically stated socialist and feminist politics articulated by the two main ‘proto-communist’ characters, Lysicles and Aspasia. Although the play was not particularly successful, its production had a considerable indirect impact on the future directions taken by left-wing theatre in the USA, through the subsequent dramas of Glaspell and Eugene O’Neill for the Provincetown Players.</p> Edith Hall ##submission.copyrightStatement## 2018-11-22 2018-11-22 20 3 7 25 10.4312/keria.20.3.7-25 Symbolist Ideas in the Scripts of Gubpolitprosvet <p>During the period of the so-called Silver age of Russian culture, three outstanding translators of the Greek tragedy, Tadeusz Zieliński, Innokentiy Annensky and Vyacheslav Ivanov, put forward the idea of the third, Slavonic Renaissance – the new rebirth of Antiquity, with the leading role of the Slavic peoples, particularly the Russians. They claimed that while the first Renaissance was Romanesque and the second German (in the era of Winckelmann, Goethe and German classical philology), the third one was supposed to be Slavonic. In the early Soviet period, the idea of Slavonic Renaissance brought about some unexpected results, first of all precisely in the sphere of theater. The paper focuses on how symbolist ideas got to be expressed in the performances of classical tragedies. Ivanov authored the expression “creative self-performance” that later, in the Soviet era, acquired the meaning of “non-professional performance,” such as comedies staged by “sailors and the Red Army soldiers,” Adrian Piotrovsky’s “amateur theatre,” and the pioneer reconstruction of the scenic performance of Aristophanes’ comedies done by Sergey Radlov, Adrian Piotrovsky, and others.</p> Nina V. Braginskaya ##submission.copyrightStatement## 2018-11-22 2018-11-22 20 3 27 40 10.4312/keria.20.3.27-40 Ancient Plays on Stage in Communist Poland <p>A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed at various points during the period, four out of seven Sophocles’ tragedies – with Antigone, a special case, by far the most popular – about half of the extant Euripides’ drama, some Aristophanes, very little of Roman tragedy (Seneca) and a bit more of Roman comedy (Plautus). The ancient plays were produced in big urban centres, as well as in the provinces, and nationally, by the state radio and later television. The various theatres and the most important directors involved in these productions are discussed and compared, with a chronological and geographical list of venues and plays provided.</p> Elżbieta Olechowska ##submission.copyrightStatement## 2018-11-22 2018-11-22 20 3 41 74 10.4312/keria.20.3.41-74 Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR) <p>Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988).&nbsp;At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.</p> Bernd Seidensticker ##submission.copyrightStatement## 2018-11-22 2018-11-22 20 3 75 94 10.4312/keria.20.3.75-94 In the Realm of Politics, Nonsense, and the Absurd <p>The myth of Antigone remained relevant in the twentieth century, and new plays inspired by this myth appeared not only in the West but also in Slavonic drama during and after WW2. Oppressed societies, abuses of power, persecution and execution of political and ideological opponents create a fertile ground for a creative return to the Sophoclean tragedy. Some of the new plays have roots in the trauma of WW2, others in post-war Soviet domination. Significantly, these plays attach growing importance to the character of Creon. Among the discussed playwrights are two Serbs, Jovan Hristić and Oto Bihajli-Merin, two Croats, Marijan Matković and Drago Ivanišević, and the Slovene, Dominik Smole; four Poles, Artur Marya Swinarski, Krystyna Berwińska, Nora Szczepańska, and Roman Brandstaetter; one Slovak, Peter Karvaš, and one Czech, Milan Uhde.</p> Alenka Jensterle-Doležal ##submission.copyrightStatement## 2018-11-22 2018-11-22 20 3 95 108 10.4312/keria.20.3.95-108