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Plays 2: The Misanthrope / Phaedra Britannica / The Prince's Play
This volume features "The Prince's Play", "The Misanthrope", and "Phaedra Britannica", translated from French.
Paperback
Published January 1, 2002
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About the author
Tony Harrison
112 books36 followersSee http://www.contemporarywriters.com/au...
He has written for the National Theatre in London, the New York Metropolitan Opera and for the BBC and Channel 4 television. He was born in Leeds, England in 1937 and was educated at Leeds Grammar School and Leeds University, where he read Classics and took a diploma in Linguistics.
He became the first Northern Arts Literary Fellow (1967-8), a post that he held again in 1976-7, and he was resident dramatist at the National Theatre (1977-8). His work there included adaptations of Molière's The Misanthrope and Racine's Phaedra Britannica.
His first collection of poems, The Loiners (1970), was awarded the Geoffrey Faber Memorial Prize in 1972, and his acclaimed version of Aeschylus's The Oresteia (1981) won him the first European Poetry Translation Prize in 1983. The The Gaze of the Gorgon (1992) won the Whitbread Poetry Award.
His adaptation of the English Medieval Mystery Plays cycle was first performed at the National Theatre in 1985. Many of his plays have been staged away from conventional auditoria: The Trackers of Oxyrhyncus was premièred at the ancient stadium at Delphi in 1988; Poetry or Bust was first performed at Salts Mill, Saltaire in Yorkshire in 1993; The Kaisers of Carnuntum premiered at the ancient Roman amphitheatre at Carnuntum in Austria; and The Labours of Herakles was performed on the site of the new theatre at Delphi in Greece in 1995. His translation of Victor Hugo's The Prince's Play was performed at the National Theatre in 1996.
His films using verse narrative include v, about vandalism, broadcast by Channel 4 television in 1987 and winner of a Royal Television Society Award; Black Daisies for the Bride, winner of the Prix Italia in 1994; and The Blasphemers' Banquet, screened by the BBC in 1989, an attack on censorship inspired by the Salman Rushdie affair. He co-directed A Maybe Day in Kazakhstan for Channel 4 in 1994 and directed, wrote and narrated The Shadow of Hiroshima, screened by Channel 4 in 1995 on the 50th anniversary of the dropping of the first atom bomb. The published text, The Shadow of Hiroshima and Other Film/Poems (1995), won the Heinemann Award in 1996. He wrote and directed his first feature film Prometheus in 1998. In 1995 he was commissioned by The Guardian newspaper to visit Bosnia and write poems about the war.
His most recent collection of poetry is Under the Clock (2005), and his Collected Poems, and Collected Film Poetry, were published in 2007.
He has written for the National Theatre in London, the New York Metropolitan Opera and for the BBC and Channel 4 television. He was born in Leeds, England in 1937 and was educated at Leeds Grammar School and Leeds University, where he read Classics and took a diploma in Linguistics.
He became the first Northern Arts Literary Fellow (1967-8), a post that he held again in 1976-7, and he was resident dramatist at the National Theatre (1977-8). His work there included adaptations of Molière's The Misanthrope and Racine's Phaedra Britannica.
His first collection of poems, The Loiners (1970), was awarded the Geoffrey Faber Memorial Prize in 1972, and his acclaimed version of Aeschylus's The Oresteia (1981) won him the first European Poetry Translation Prize in 1983. The The Gaze of the Gorgon (1992) won the Whitbread Poetry Award.
His adaptation of the English Medieval Mystery Plays cycle was first performed at the National Theatre in 1985. Many of his plays have been staged away from conventional auditoria: The Trackers of Oxyrhyncus was premièred at the ancient stadium at Delphi in 1988; Poetry or Bust was first performed at Salts Mill, Saltaire in Yorkshire in 1993; The Kaisers of Carnuntum premiered at the ancient Roman amphitheatre at Carnuntum in Austria; and The Labours of Herakles was performed on the site of the new theatre at Delphi in Greece in 1995. His translation of Victor Hugo's The Prince's Play was performed at the National Theatre in 1996.
His films using verse narrative include v, about vandalism, broadcast by Channel 4 television in 1987 and winner of a Royal Television Society Award; Black Daisies for the Bride, winner of the Prix Italia in 1994; and The Blasphemers' Banquet, screened by the BBC in 1989, an attack on censorship inspired by the Salman Rushdie affair. He co-directed A Maybe Day in Kazakhstan for Channel 4 in 1994 and directed, wrote and narrated The Shadow of Hiroshima, screened by Channel 4 in 1995 on the 50th anniversary of the dropping of the first atom bomb. The published text, The Shadow of Hiroshima and Other Film/Poems (1995), won the Heinemann Award in 1996. He wrote and directed his first feature film Prometheus in 1998. In 1995 he was commissioned by The Guardian newspaper to visit Bosnia and write poems about the war.
His most recent collection of poetry is Under the Clock (2005), and his Collected Poems, and Collected Film Poetry, were published in 2007.
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Displaying 1 of 1 review
December 19, 2014
I read Phaedra Britannica for my dissertation chapter on Hippolytus adaptations.
This is an interesting reworking of Racine's Phedre, relocated to British India circa 1855, with Theseus being the Governor of Bengal, Phaedra being the Memsahib, and Hippolytus as a half-caste British/Rajput. Interestingly, in his introduction to the play Harrison makes much of the psychological dualism of the Hippolytus story--the division between repressed, austere chastity and lascivious sensuality--which is exactly what I find so relevant for my own discussion, because I would characterize the process of adaptation as torn between two similar impulses. So this play will be useful in terms of discussing the psychoanalytics of adaptation and adaptation studies.
Also interesting here is the role played by India as a figure in this play. India is oppressive, omnipresent, and seductive/destructive. In a way India becomes a less complex stand-in for Siva, who is dual- (or multi-)natured. And while at times India seems to be roughly equivalent to Greek fate, at other times it is a dark and overwhelmingly destructive thing outside language, reason, and restraint. This treatment of India troubles me because I can't tell how much is genuinely reproducing discourses of the Victorians and utilizing the Victorians self-image as law-givers and civilizers, and how much Harrison continues to buy into these centuries old British images of India (after all, in 1975 India hadn't been independent all that long, and many British people probably still thought of India as properly belonging to the UK).
This is an interesting reworking of Racine's Phedre, relocated to British India circa 1855, with Theseus being the Governor of Bengal, Phaedra being the Memsahib, and Hippolytus as a half-caste British/Rajput. Interestingly, in his introduction to the play Harrison makes much of the psychological dualism of the Hippolytus story--the division between repressed, austere chastity and lascivious sensuality--which is exactly what I find so relevant for my own discussion, because I would characterize the process of adaptation as torn between two similar impulses. So this play will be useful in terms of discussing the psychoanalytics of adaptation and adaptation studies.
Also interesting here is the role played by India as a figure in this play. India is oppressive, omnipresent, and seductive/destructive. In a way India becomes a less complex stand-in for Siva, who is dual- (or multi-)natured. And while at times India seems to be roughly equivalent to Greek fate, at other times it is a dark and overwhelmingly destructive thing outside language, reason, and restraint. This treatment of India troubles me because I can't tell how much is genuinely reproducing discourses of the Victorians and utilizing the Victorians self-image as law-givers and civilizers, and how much Harrison continues to buy into these centuries old British images of India (after all, in 1975 India hadn't been independent all that long, and many British people probably still thought of India as properly belonging to the UK).
Displaying 1 of 1 review