博彩平台推荐副教授塔玛拉的黎波里说, 新表演教科书的撰稿人, explains why you might give Greek tragedies a second look

一个剧本能超过2个剧本吗,400 years ago about a despairing mother seeking revenge for the deaths of her children teach modern performers anything new about not only their art, but also about conveying broader themes of power and justice?

为 塔玛拉的黎波里, an associate professor in the 博彩平台推荐 Department of 戏剧和舞蹈, 欧里庇得斯的戏剧《博彩app推荐》,” written around 424 BCE about a grief-stricken queen of the fallen city Troy, has much to teach performers about the interaction between power and powerlessness in times of extreme conflict. Conveying those themes, however, requires specific physicality and preparation from 演员s.

Meneghini elaborates on these themes in a chapter written for the new 教科书 “Building Embodiment: Integrating Acting, Voice, and Movement to Illuminate Poetic Text.“这一章, 题为“恩典, Gravitas and Grounding–Approaching Greek Tragedy through a New Translation of Hecuba,” focuses on helping 演员s “get close” to the original Greek performance style, 的黎波里说.  

“I also wanted to add some newness–to make the performance style and the text [of ‘Hecuba’] more accessible to 演员s with a newer translation, so that 演员s can integrate breath and movement into the poetic text,她说。. “It’s also about giving readers lessons and tools they can use in the rehearsal process.” 

Meneghini was chosen to contribute to the 教科书 by Karen Kopryanski, associate professor and head of voice and speech at Virginia Commonwealth University and one of the book’s editors. She’s known Meneghini since 2005 and says she chose Meneghini to write the chapter because she was inspired by Meneghini's work on the new translation of “Hecuba” that she features in the anthology. She says she felt that others would benefit greatly from her expertise and artistic process.

的黎波里说 she spent the better part of a year writing the chapter. 

“I’d write some and send it to Karen, and she’d help me sharpen it and improve it. We went back and forth like that for many months,” 的黎波里说. “I had been playing with the ideas that ended up in the chapter in my classes for some time, 我觉得当这些想法对学生起作用时, then I was capturing something that might work for all 演员s.” 

她补充说，写作对她来说是“一件新事物”. “我是一名演员兼导演, but writing was a great exercise for me—it was a lesson in specificity and a lesson in the value of ‘less is more’.”  

的黎波里说 she was seeing evidence that the chapter was proving helpful to audiences months before it was published. In March, she taught a workshop in San Deigo using contents from the chapter. 

“我实际上给了他们一份这一章的副本, 博彩平台推荐在研讨会上使用了它, 反响很好,她说。. 这些都是毕业生, 专业演员, so I believe it will be helpful beyond students who are studying theater in college.”

She had the same result after teaching with information from the chapter at the Denver Center for the Performing Arts. “事实证明，这对那里的学生也很有用.”

Meneghini is intimately familiar with Greek tragedy and with “Hecuba.” In 2018, she directed the play at CU Boulder, where nearly 1,000 people saw the performance.

She says she believes there’s much to be gained from watching or reading tragedies, 特别是今天. 

“Our world today is not so unlike the tragedies in literature,她说。. “I think tragedies are also very freeing for 演员s because they require 演员s to go to that place of tremendous size—to go to that public domain and to be creative with it and to connect with the themes behind the poetry. 我知道是“Hecuba”,’ some people told me they felt transported to a different time and different place.” 

她在“Hecuba”中补充道,” the lead character of the same name faces many misfortunes, 包括失去她的孩子. 

“All these things are done to her, so she has to change her destiny,她说。. “这是一个非常感人的故事.  她的命运掌握在她周围的男人手中, and the audience has to decide if she’s a good or a bad person. The audience members have to ask themselves if they would kill if someone killed their family.”

Up next for Meneghini is a sabbatical to create a documentary film about Loyd Williamson, 《博彩平台推荐》的创造者和作者, a system of training for the body and its role in the communication process; and Deborah Robinson, 著名的戏剧运动和时代风格专家, 编排, 演员, 导演兼编剧.   

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