{"id":109,"date":"2025-01-07T19:23:09","date_gmt":"2025-01-08T02:23:09","guid":{"rendered":"https:\/\/blogs.ubc.ca\/cacwcapn2025\/?page_id=109"},"modified":"2025-02-27T17:58:05","modified_gmt":"2025-02-28T00:58:05","slug":"keynote","status":"publish","type":"page","link":"https:\/\/blogs.ubc.ca\/cacwcapn2025\/program\/keynote\/","title":{"rendered":"Keynote Address"},"content":{"rendered":"

Euripides in<\/span> the Ukraine<\/span><\/h1>\n

The “dreamscape” of Euripides’ <\/span>Iphigenia among the Taurians<\/em>,\u00a0<\/span>set\u00a0<\/span>in the peninsula now known as Crimea<\/span>, explores the interpenetration of reality and illusion.\u00a0<\/span>Greek Black Sea colonies were a crucial route by which central Eurasia came into contact with the Mediterranean, standing at the intersection of competing imperial ambitions.\u00a0<\/span>Artists have responded to the centrality of dreaming to Euripides’ play:<\/span> Gluck’s opera\u00a0<\/span>Iphig\u00e9nie en Tauride<\/em>\u00a0<\/span>(1779); its staging by neo-expressionist choreographer Pina Bausch in Wuppertal (1974); the play\u00a0<\/span>Rescue Me (A Postmodern Classic with Snacks)<\/em>\u00a0<\/span>by Canadian-Japanese author Michi Barall, first produced in New\u00a0York (2010); the play\u00a0<\/span>Iphigenia and the Furies (on Taurian Land)<\/span><\/em> by Ho Ka Kei, 2019 Toronto Theatre Critics’ Best New Canadian Play;\u00a0and the immersive performance\u00a0<\/span>The Burnt City<\/em>\u00a0<\/span>by Punchdrunk in London (2023\u20132024). Each reception foregrounds dreams and builds on those that came before, so that the significance of dreams deepens over time.<\/span><\/p>\n

Frederic Lasserre Building, UBC
\nRoom 102
\n7 March 2025, 7:30pm
\nThis event is open to the public \u2014 all are welcome! No registration needed.<\/p>\n

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Claire Catenaccio, Georgetown University<\/h1>\n

Claire Catenaccio is a scholar of Ancient Greek literature, particularly drama, and its modern reception. As a dramaturg and director, she has worked extensively with contemporary stagings of ancient texts. Her first book explores monody, or solo actor’s song, in the plays of Euripides (Monody in Euripides: Character and the Liberation of Form in Late Greek Tragedy<\/em>, Cambridge University Press). She has published on dreams in Aeschylus’ Oresteia<\/em>\u00a0and Plutarch’s\u00a0Lives<\/em>, on singing heroes in Sophocles’ Trachiniae<\/em>, and on the transformation of the myth of Orpheus in the Broadway musical Hadestown<\/em>. At Georgetown University, Professor Catenaccio teaches course on the Ancient Greek language, Classical mythology, tragedy and comedy, Homer’s Iliad<\/em>\u00a0and\u00a0Odyssey<\/em>, and Shakespeare’s plays set in Ancient Greece and Rome.<\/p>\n

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Featured image, top of page: Sanguen Lee in Pina Bausch’s Iphigenie auf Tauris<\/em> (Semperoper Ballett \/ Ian Whalen)<\/p>\n","protected":false},"excerpt":{"rendered":"

Euripides in the Ukraine The “dreamscape” of Euripides’ Iphigenia among the Taurians,\u00a0set\u00a0in the peninsula now known as Crimea, explores the interpenetration of reality and illusion.\u00a0Greek…<\/p>\n

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