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This thesis includes the journey of Michael Lee becoming a professional actor by performing several characters within two contrasting productions. The first, "The Trojan Women", by Euripides, Michael portrayed Poseidon, Talthybius, and The Guard in ETSU's very own Bud Frank Theatre. Michael's second production included the character of Charles in the modern drama "Race" by David Mamet, which was held in the newly renovated Studio 205. Michael documented his growth as an actor through daily journal entries and analyzing the final performances.

This thesis examines the characterization of Trojans in fifth-century Attic tragedy with a particular focus on their ability to shed light on the contemporary Athenian sense of identity. I argue against the notion that Trojans are displaced Persians, for they maintain a strong connection to their mythological heritage. The evidence I present draws on fifth-century Attic tragedies but also on the Iliad, iconography, and fragmentary tragedies. My discussion of passages from the Iliad creates a context for interpreting Trojan characters in fifth-century tragedy by establishing the tradition that tragedians could draw on as the background against which to set their Trojan characters. The iconographic evidence similarly adds depth to the project by stepping away from a textual focus to create a wider understanding of how Trojans were visually conceptualized. The fragmentary tragedies provide a tantalizing glimpse into the portrayal of Trojan men, who are otherwise almost entirely absent from tragedies. As a result, my discussion of tragedy focuses on Trojan women, and I suggest that they are representatives of an idealized culture designed to evoke an idealized sense of Athenian cultural identity. I examine Euripides’ Andromache to compare the portrayal of Spartans, contemporary fifth-century Athenian enemies, with that of Trojans to demonstrate the differences between them. Following that, I address the gendered nature of the aftermath of the Trojan War by focusing on one particularly feminine theme in each of three plays: exchange in Andromache, nostalgia in Trojan Women, and mourning in Hecuba. Finally, I discuss the role played by class in considering Trojan characters. Only Euripides’ Orestes presents a (male) character who was a slave in Troy before the fall, and this provides an excellent opportunity to contrast the treatment of that character with the treatment of the royal Trojan women. The purpose of this examination of Trojan characters is to demonstrate that there was an intellectual curiosity about them and their role in contemporary society. I argue in favour of a sympathetic treatment of Trojan characters, or more specifically, against the notion of a “Phrygianization of Troy,” and restore to the Trojans their own unique identity.

This thesis examines the characterization of Trojans in fifth-century Attic tragedy with a particular focus on their ability to shed light on the contemporary Athenian sense of identity. I argue against the notion that Trojans are displaced Persians, for they maintain a strong connection to their mythological heritage. The evidence I present draws on fifth-century Attic tragedies but also on the Iliad, iconography, and fragmentary tragedies. My discussion of passages from the Iliad creates a context for interpreting Trojan characters in fifth-century tragedy by establishing the tradition that tragedians could draw on as the background against which to set their Trojan characters. The iconographic evidence similarly adds depth to the project by stepping away from a textual focus to create a wider understanding of how Trojans were visually conceptualized. The fragmentary tragedies provide a tantalizing glimpse into the portrayal of Trojan men, who are otherwise almost entirely absent from tragedies. As a result, my discussion of tragedy focuses on Trojan women, and I suggest that they are representatives of an idealized culture designed to evoke an idealized sense of Athenian cultural identity. I examine Euripides’ Andromache to compare the portrayal of Spartans, contemporary fifth-century Athenian enemies, with that of Trojans to demonstrate the differences between them. Following that, I address the gendered nature of the aftermath of the Trojan War by focusing on one particularly feminine theme in each of three plays: exchange in Andromache, nostalgia in Trojan Women, and mourning in Hecuba. Finally, I discuss the role played by class in considering Trojan characters. Only Euripides’ Orestes presents a (male) character who was a slave in Troy before the fall, and this provides an excellent opportunity to contrast the treatment of that character with the treatment of the royal Trojan women. The purpose of this examination of Trojan characters is to demonstrate that there was an intellectual curiosity about them and their role in contemporary society. I argue in favour of a sympathetic treatment of Trojan characters, or more specifically, against the notion of a “Phrygianization of Troy,” and restore to the Trojans their own unique identity.

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Cette étude porte sur les utilisations de l'intertextualité comme procédé dramaturgique dans Hécube et Les Troyennes d'Euripide. Les intertextes considérés sont les épopées homériques et l'Agamemnon d'Eschyle. Après une présentation des problèmes posés par le recours à la notion d' "intertextualité" dans le domaine de la littérature grecque antique, et plus particulièrement du théâtre grec antique, chaque pièce fait l'objet d'une étude approfondie. Les chapitres I à IV portent sur les stasima des deux pièces et posent la question du fonctionnement de l'intertextualité dans la parole lyrique du choeur. Les stasima sont envisagés dans une perspective unificatrice qui vise à mettre en lumière leur rôle de fil directeur dans les deux tragédies. Les chapitres suivants portent sur des passages étendus des deux pièces. L'utilisation de l'intertextualité dans la représentation du sacrifice de Polyxène fait l'objet du chapitre V tandis que le chapitre VI porte sur la double allusion intertextuelle (à l'Odyssée et à l'Agamemnon) mise en place par Euripide pour représenter le vengeance d'Hécube (Hécube). Les chapitres VII et VIII s'intéressent aux Troyennes : d'abord à la scène de Cassandre, comparée à la scène de l'Agamemnon d'Eschyle dont elle constitue une sorte de réécriture ; puis à la scène d'Hélène, où Euripide construit les tensions de son agôn à partir d'un passage précis du chant III de l'Iliade - qu'il rend volontairement encore plus problématique qu'il ne l'est chez Homère à travers les discours de ses deux personnages. La conclusion présente les résultats de cette enquête quant au fonctionnement et quant à diverses fonctions possibles de l'intertextualité dans la tragédie grecque. / This study investigates the question of how intertextuality is used as a dramaturgical device in Euripides' Hecuba and Troades. The intertexts considered here are the Homeric epics and Aeschylus' Agamemnon. After a presentation of the poblems raised by the use of the notion of "intertextuality" in the field of ancient Greek literature, and more specifically Greek theatre, the two dramas are each studied in depth. Chapters I to IV are concerned with the stasima of these plays and raise the question of the specific manner in which intertextuality is inscribed in the lyrical language of the chorus. The stasima are considered from a global perspective in order to highlight their function as a guiding thread running through each drama. The following chapters deal with extended portions of Hecuba and Troades. The use of intertextuality in the representation of the sacrifice of Polyxena is studied in chapter V, whereas chapter VI deals with the double intertextual allusion (both to the Odyssey and to the Agamemnon) engaged in by Euripides in his representation of Hecuba's revenge (in Hecuba). Chapters VII and VIII are about the Troades, focusing firstly on the Cassandra scene, which is compared with the Cassandra scene in Aeschylus' Agamemnon, reworked here by Euripides. Secondly there is the scene involving Helen, where Euripides builds up the tensions of the agôn by basing it on a precise passage of Iliad III - which, in the light of the positions taken by the two characters, he purposely renders even more problematic than it is in Homer. The conclusion presents the results of this inquiry into the functioning and possible purposes of intertextuality in Greek tragedy

La tesi si concentra sull'analisi interpretativa e sul confronto culturale tra diverse riprese di un dramma antico sulla scena moderna. L'opera classica scelta è Troiane nella versione euripidea, soggetta a una notevole ripresa d'interesse da parte di registi e drammaturghi nel XX e XXI secolo. Si è inteso concentrare l'attenzione sui più significativi spettacoli e drammaturgie contemporanei (quindi apparsi sulle scene mondiali e, in particolare, italiane del secondo dopoguerra) che tematizzino a diversi livelli la questione del disagio, della violenza e delle forme dell'esclusione e dell'esodo dovuti a uno scontro fra culture antagoniste. Volutamente, sono stati studiati spettacoli poco noti alla critica e al grande pubblico. Il metodo di lavoro seguito è stato adattato alle caratteristiche di ogni allestimento e alla particolarità delle fonti. Infine, ho fornito una valutazione critica della riuscita artistica degli spettacoli e ho confrontato le diverse traduzioni impiegate dai registi. / The thesis deals with an interpretation and a cultural comparison among many different contemporary plays based on classic drama. In particular, I examined Trojan Women by Euripides, a tragedy that today is often present on the stage. The thesis presents an account on the most important present-day shows and writings from Italy and other countries about loneliness, violence and exile due to fights between different cultures. On purpose, I studied not generally known shows and plays. The study method has been adapted to every show features and to its evidences. Finally, I valued how and if a show succeeded and made a comparison among different translations of Euripides' trojan women.

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