The Theater of War: What Ancient Tragedies Can Teach Us Today

by Bryan Doerries

This is the personal and deeply passionate story of a life devoted to reclaiming the timeless power of an ancient artistic tradition to comfort the afflicted. For years, theater director Bryan Doerries has led an innovative public health project that produces ancient tragedies for current and returned soldiers, addicts, tornado and hurricane survivors, and a wide range of other at-risk people in society.

Drawing on these extraordinary firsthand experiences, Doerries clearly and powerfully illustrates the redemptive and therapeutic potential of this classical, timeless art: how, for example, Ajax can help soldiers and their loved ones better understand and grapple with PTSD, or how Prometheus Bound provides new insights into the modern penal system. These plays are revivified not just in how Doerries applies them to communal problems of today, but in the way he translates them himself from the ancient Greek, deftly and expertly rendering enduring truths in contemporary and striking English.
 
The originality and generosity of Doerries’s work is startling, and The Theater of War—wholly unsentimental, but intensely felt and emotionally engaging—is a humane, knowledgeable, and accessible book that will both inspire and enlighten. Tracing a path that links the personal to the artistic to the social and back again, Doerries shows us how suffering and healing are part of a timeless process in which dialogue and empathy are inextricably linked.




From the Hardcover edition.

Genres: Nonfiction, History, Audiobook, War, Psychology, Theatre, Politics

304 pages, Paperback

First published September 8, 2015

About the author

Bryan Doerries is a writer, director, and translator. A self-described evangelist for classical literature and its relevance to our lives today, Doerries uses age-old approaches to help individuals and communities heal after suffering and loss. He is the founder of Theater of War, a project that presents readings of ancient Greek plays to service members, veterans, and their families to help them initiate conversations about the visible and invisible wounds of war. He is also the cofounder of Outside the Wire, a social-impact company that uses theater and a variety of other media to address pressing public health and social issues.

Reviews

[J.L. Sutton · Rating 4 out of 5]

Bryan Doerries' The Theater of War: What Ancient Greek Tragedies Can Teach Us Today is a memoir as well as the author's moving account of a public health project involved in the production of ancient tragedies initially aimed at soldiers. While you'll learn about tragedies in this book (primarily Ajax and Prometheus Unbound), this is not a study of Greek theater. It's about how Greek theater, specifically tragedies, can be relevant today. Doerries' premise is that these plays show us that we all face the darkness of suffering, but that doing so as a community (even when or especially when we are powerless to change that suffering), can bring us together. Performing these plays, first to soldiers and later other populations which have been impacted by violence (including prisoners and prison guards) shows us a way where we don't suffer alone. I found Doerries' interpretation of the Greek chorus as representative of the community even when the community couldn't find any words of comfort extremely poignant. The Theater of War project provides insight into the value of communal healing while reminding those who are suffering that they are not forgotten.

[Kate · Rating 5 out of 5]

Wow. First off, please listen to this book. There are many excerpts from Bryan Doerries' translation of ancient greek plays which are performed, not merely read, by the narrator Adam Driver. The audiobook also gives you the opportunity to hear the emotion behind each experience shared throughout this book. Mr. Driver's voice has such intensity and passion, possibly from having worked with Theatre of War himself, that the reading holds the weight this book deserves. I found myself on the edge of tears more times that I can count.

Going into this book, I knew absolutely nothing about it. The farther I listened the more understanding, empathy, and amazement I experienced. This book taught me a lot about what veterans, and other people dealing with fall out from extreme experiences, have to go through. I, at this time in my life, could never truly understand these people's experiences, but with this book I began to empathize and learn how complex and misunderstood certain systems within our society are.

And get this: this whole book is about ancient greek tragedies. Which sounds boring, but Doerries so eloquently explains just how crucial these tragedies can be to the correct audience. It was inspiring how powerful and healing theatre can be. This book has made me want to get involved to try and better understand and help heal others through performance.

[Laura Leaney · Rating 4 out of 5]

The position that Doerries takes - that Greek literature (tragedy in particular) is still relevant today - is one I fervently believe. There is no need to persuade me; I am already a preacher. As a result, Doerries's effort in bringing Greek tragedies to sensitive audiences through his Theater of War program was of interest to me. Should war veterans, prison guards (and possibly inmates), and medical personnel dealing with the dying, see performances reliving the ancient pain of the Greek tragic heroes? It's not even a question in my mind - of course they should. Damn it, who would question it? Idiots who cannot understand the deep need to commune with other afflicted human beings. I am one hundred percent behind the whole idea of the author's Theater of War program, although seeing a play is certainly not a cure-all for what ails you, it could certainly be a starting point for discussion.

Doerries does his own translations from the ancient Greek to English for Sophocles' Ajax, Philoctetes, and the Women of Trachis. He's also translated Aeschylus' Prometheus Bound. Included in the book are bits of his translations (made for the modern stage), which I found quite moving. Not as beautiful to me as the literal translations, Doerries' work has removed the more literary language that might bog down a non-classics major. Like a suicidal veteran (Ajax). Like a doctor witnessing the agony of a dying patient (Heracles). Like a prison warden guarding an isolation cell (Prometheus). Like all the wives suffering from the three previous scenarios.

This book has inspired me to re-visit Ajax and read The Women of Trachis for the first time. I thank Doerries for that.

My love for Greek literature is profound. For some reason the stuff speaks to something deep inside my mind. It's better than religion and more meaningful. Seeing a play, especially a tragic play, is very much like attending church. There we all are, listening, feeling, crying - a community of like minded empathizers.

Although Doerries doesn't use it in his book, one of my favorite plays, Aeschylus' Agamemnon, contains exquisite lines that speak to his mission. The Chorus sings:

Zeus has led us on to know,
the Helmsman lays it down as law
that we must suffer, suffer into truth.
We cannot sleep, and drop by drop at the heart
the pain of pain remembered comes again,
and we resist, but ripeness comes as well.
From the gods enthroned on the awesome rowing-bench
there comes a violent love.

[Andrew · Rating 4 out of 5]

Remember that time you started sobbing uncontrollably on the subway?

Neither do I. But it was pretty darn close.

This was actually a three-star book, with decent writing and an interesting idea. Stage ancient plays as a cathartic moment for suffering people: veterans, prisoners, prison guards, palliative care workers. Where the book comes into its own, however, are the gut-punching human stories. And the realization that the Greeks really did invent everything and completely understood human nature.

And that you're not alone in your sadness.

[Al Bità · Rating 4 out of 5]

The first thing that should be said about this book is that it is beautifully written, and a joy to read.

The second thing to understand is that it deals with human suffering; but human suffering of a special kind — that which, in various roundabout ways, we have managed to create for ourselves, and from which we seem to be unable to shake free. This kind of suffering has only comparatively recently (medically speaking) been given a name: Post Traumatic Stress Disorder (PTSD). Unfortunately we are only just beginning to understand certain aspects of PTSD, and how it affects certain people in our society.

The main thrust in this book lies in the first instance in dealing with the trauma of War and its manifestations (or not) in it victims. It deals primarily with the original traumas of War, but also extends to associated societal “responses” such as placing victims in isolation or solitary confinement, as well as placing them in hospices.

Doerries has approached this state of affairs through his experience in theatre, and he noted in particular that his translations of some of the great ancient Greek playwrights expressed powerful sentiments that appear to be shockingly relevant and confronting even today. He realised that by “objectifying” the mental and physical sufferings of even the great heroes of antiquity, the playwrights let their audiences in on shocking, private, horrifying, shameful, and maybe traitorous, blasphemous and murderous thoughts and feelings which the official glorification the State seemed to deny their heroes (i.e. those heroes who did not actually die “gloriously” in battle but “survived”). The plays emphasis the cathartic release derived from understanding and confronting the most horrific of mental and physical sufferings within the relative safe confines of the theatre environment. Doerries had discovered that PTSD has been with us since ancient times…

Within the necessarily parochial limitations (the setting is decidedly limited essentially to the Military forces of the United States) Doerries sets about describing his battles (as it were) with getting his ideas across to the powers that be in the Military of the United States about the use of special presentations of his versions of specific Greek classical playwrights (which he calls the “Theatre of War” which he founded) to assist in the treatment of PTSD patients and their loved ones and/or carers. These stories are all profoundly moving, and a testament to the effectiveness of the programs as part of the treatment programs for PTSD sufferers. Along the way, Doerries also touches on the fact that it is not only the victims themselves who are affected, but that it also applies to those who have to “deal” with them, and who equally can develop more refined but equally pernicious PTSD symptoms.

Doerries’ conviction that theatre in particular can be effectively used as an antidote in alleviating PTSD suffering is to be commended. As well as “Theatre of War” he is also a co-founder of “Outside the Wire” which my cover blurb describes as “a social-impact company that uses theatre and a variety of other media to address pressing public health and social issues, such as combat-related psychological injury, end-of-life care, prison reform, domestic violence, political violence, recovery from natural and man-made disasters, and addiction.” One can only wish these enterprises all the best in their endeavours, and hope that they actually do, or will also soon include other PTSD generating professions and activities such as the police, ambulances, doctors and nurses, firefighters, bullying, sexual discrimination, etc.

The nice thing about this book is the firm belief that the arts, and theatre in particular can and do provide us with ways we as a society can confront and deal with frightening and even terrifying events to assist in the healing process. The sad part of this book is the unsettling idea that, since the arts and theatre have been with us for thousands of years, this process might very well help us “heal” the symptoms, but does not seem to have done much at all in dealing with the causes of those symptoms.

[Kelsey · Rating 5 out of 5]

Really liked the book. Much to say about it but I've not got my PC right now, but I found it inspiring both personally and academically in a way that is hard to explain given its not an academic work as such.

Also Adam Driver is a truly great narrator. He could read me anything and I'd be happy.

[Jim Puskas · Rating 4 out of 5]

It was with a healthy degree of skepticism that I picked up this book. Although I have a very high regard for the classics, including the impressive works of the ancient Greeks, I generally avoid books that claim to have discovered some marvelous new way to solve emotional problems and allay human suffering: those usually turn out to be written by smarmy pitchmen, evangelists or con artists. Being a memoir of a theater director also set out the ‘caution’ flag: beware of ego-tripping self-aggrandisement.
Happily, such was not the case; Doerries’ book greatly exceeded expectations. He makes a convincing case that sitting through performances of very raw Greek tragedy can be cathartic, liberating and beneficial for persons who are deeply troubled by grief, overly stressed by ongoing experiences or deeply traumatized by horrific life events. In places, the book was extremely moving.
The reality of any sort of trauma is that it can never be objectified; pain and grief are deeply personal; they inhabit us to a degree that cannot be successfully buried or put aside. The reality we endure cannot really be “shared” by someone else: we experience it entirely alone. Doerries discovered that exposure to the extreme trauma that often arises in Greek tragedy can help audience members feel less alone in their torment, more able to open up, discuss their feelings, make sense of what they are suffering.

[Chris · Rating 5 out of 5]

Terrific and thought provoking read. Review to follow when I can organize my thoughts.

[Sydney Haas · Rating 5 out of 5]

I was not expecting this to be one of the best books I've read this year but... wow. I really recommend the audiobook (and I generally don't prefer audiobooks!!) because Adam Driver delivers this book exceptionally.

I picked this up because I'm interested in theatre history and community-based theatre productions but the book offered so much more than that. It's insight on death and mourning was deeply moving to me and I would honestly recommend the book to people who have no deep connection to Greek Tragedies. The bit about the doctor who works in end of life care was so insightful. I got more out of the health/healthcare-oriented segments than the military segments but Doerries really highlights the benefit of being in conversation with the military & prison systems & not in a way that promotes or excuses the military, imo.

I thought it was a deeply insightful read and I would genuinely recommend this to anyone who thinks they don't care about theatre, but who does care about how we as a society handle death, loss, health, and end of life care.

[Ashley Jacobson · Rating 5 out of 5]

This was amazing. The insight into human suffering was beautiful. The first half is about suffering in the military and was heart wrenching. I cried. Books don’t often make me cry. But these are such real, raw problems. The conclusion is that Greek tragedies and other works of art (like the story of Job and modern plays) can help start conversation and help us feel less alone. By exposing people to things that involve situations and characters different from themselves, they see that they are not alone. People from different cultures, countries, religions, and times have all expected similar things. It’s such a beautiful premise. I highly recommend this book!

[Bonnie · Rating 4 out of 5]

An engaging argument for Greek tragedy's ability to transcend time and culture. A subtle plea for the arts to be woven into the fabric of life instead of shut up in elite corners of culture. Doerries uses his own experiences to make his case, and he is persuasive and urgent in his writing.

[Shelby Parker · Rating 4 out of 5]

Really interesting and really heartwarming. I learned so much about Greek tragedies and I love the connection between past and present hardships.

[Maddie Kehner · Rating 4 out of 5]

This was significantly more interesting than I expected it to be. Thank u Greek drama!

[Gemma F. · Rating 5 out of 5]

This is such an eye opening account on Greek Theatre and War. Particularly how War affects soldiers and how the Theatre of War enabled both the soldiers and their families to heal. I read the book and listened to the audiobook narrated by Adam Driver which made the poetry and stories on Greek Plays so much more mesmerising and unforgettable.

I’ve learned so much.

5 incredible stars.

[Erika Sampson · Rating 4 out of 5]

"Knowing that PTSD (post traumatic stress disorder) existed BC (before Christ) makes me feel less alone"

First of all, shoutout to Adam Driver, because he is the reason that I listened to this book. His voice for 6 hours? Say less. I didn't really know that my favourite celebrities narrated audiobooks. And for that reason, I will be checking out others, just by searching on Libby with their names.

Suffering and tragedy are recounted in the oldest stories of human existence. They will never lose their relevance, and for that reason should be openly shared. Violence changes our DNA; as such, those that suffer from reoccurring violent acts should be heard and offered unanimous support.

I must confess that I am guilty of overlooking the devastating services of the Armed Forces. It is a field that I often do not appreciate, because I do not condone war or invasions. Nonetheless, I cannot turn a blind eye to the growing suicidal ideations of soldiers, who witness some of the most disturbing forms of human suffering. The military needs to be humanized, even if we disagree with the humans participating.

Art was and is a coping mechanism. Just like the biblical poetic account of Job, it is one that can effectively recount the cycle of tragedy that will occur on earth. Whether 12 through poetry, theater, or paintings, we should look at suffering dead in the eye. At least let's be afraid together.

[Scribe Publications]

As more and more information is coming out about how western governments that should know better have been neglecting the veterans of recent wars, especially those suffering from post-traumatic stress disorder, resulting in a high rate of suicide, this book is very timely … Doerries’ direct, high-volume technique appears to connect sufferers with their emotions in a way the Greeks would have called “cathartic”.
Margaret Atwood New Statesman ‘Books of 2015’

The Theatre of War is an enthralling, gracefully written, and urgently important examination of the vital, ongoing relationship between past and present, between story and human experience, and between what the ancients had to report about warfare and human values and the desperate moral and psychological struggles that soldiers still undergo today. Bryan Doerries has given us a gift to be treasured.
Tim O’Brien

Bryan Doerries’s The Theatre of War is a testament both to the enduring power of the classics and to the vital role art can play in our communal understanding of war and suffering.
Phil Klay, Author of Redeployment, Recipient of 2014 National Book Award

One has the feeling we are being watched by our ancestors, that they continually call out to us, bestow us with gifts of their wisdom, warn us about habitual traps and foibles common to all humans. We rarely have the presence to listen to, to receive that wisdom. Bryan Doerries asks: what lessons will we finally take to heart from these ancients? In this riveting narrative, simply but elegantly told, Doerries movingly resurrects the inner life of a people who lived 2,500 years ago, but whose struggles evoke our own familiar and damaged present, now endowed by this wonderful book with more drama, more tragedy, more compassion, more possibility. Here is the proof at last: our future depends on the gifts of the past.
Ken Burns

Bryan Doerries’s ongoing staging of Greek tragedies before U.S. military personnel and others processing trauma is an act of courageous humanism: a tribute to vanished lives and a succor to current soldiers and citizens. In connecting the valiance and pathos of modern military life to a 2500-year tradition, Doerries has returned dignity to countless troops nearly destroyed by war. His capacious yet intimate book offers a privileged look into not only the psychological costs of the Iraq and Afghanistan conflicts and other proximate disasters, but also the larger meaning of inhabiting an unpredictable and militarized world.
Andrew Solomon, Author of Far From the Tree

I have always thought of Greek tragedies as the earliest public service announcements. Those ancient stories of family politics, their warnings about civic duty, and their parables of grief and its management are as vital today as when first written. Through his translations and public readings, and now this powerful book, Doerries offers modern audiences access to these ancient PSAs. We hunger and thirst for the guidance these plays contain.
Frances McDorman

A deeply humane quest, movingly recalled. Doerries’s passionate search for meaning in ancient text has led him out of the dusty stacks of scholarship into an arena of ecstatic public engagement. He has taken his elegantly reasoned thesis — that the main business of tragedy has always been catharsis – and created a theatrical experience that has lifted countless audiences out of isolation and into profound community.
Garry Trudeau

[The Theatre of War] illuminates how Greek tragedy penetrates to the deepest of levels in us all. It also shows how certain audiences, when given permission, can help illuminate the urgency and relevance of these ancient stories today. In his approach to tragedy, Doerries has found the way to remove out-of-date barriers and clean the outer crust of language with fresh words so that the essential can appear once more
Peter Brook

Moving and personal … Doerries’s potent memoir reveals that the enduring power of Greek dramas lies in their ability to help us understand the present.
Publishers Weekly

Engaging and sometimes moving.
Sukhdev Sandhu, The Guardian

A compelling, raw book … both memoir and manifesto; [Doerries] chronicles his own gradual discovery of the power and relevance of Greek tragedies while also championing their social utility … Across a gulf of two and a half millennia, the Greek tragedians can still help us know and cure ourselves.
Nick Romeo, Boston Globe

An insightful tale of Doerries' discovery of classical mythology and his evangelical-like zeal of turning plays written 2,500 years ago into salves for war, death, prison, illness and other suffering that can break, diminish or redeem us … The Theatre of War aims to narrow the divide between soldier and civilian, to lay bare — through verse and myth — the horrors and transgressions of the battlefield.
L.A. Times

The Theatre of War moves effortlessly between a social discourse on war, autobiography and a love letter to classical academia … A profoundly moving case for the healing power of drama.
The Lady

The themes are timeless … Doerries examines both suffering and healing in this new, albeit ancient light.
New Statesman

Heart-gripping … Mr Doerries staged excerpts from the Greek plays for war veterans and their commanders, prison guards and prisoners, and others, followed by forums. The results, as he recounts in fluent, agile prose, upheld his belief that communal exposure to the power of the Greek tragedies can be a profoundly useful healing tool.
New York Times ‘Best Books of 2015’

[Adri Dren · Rating 5 out of 5]

Adam Driver reading the audiobook is 100000/10! I wouldn't have picked this up if I didn't see he was the narrator but I'm so glad I did because it was incredibly interesting, devastating and wonderful all at the same time!

[Knut Sigurd · Rating 3 out of 5]

interessant å høyre eit såpass instrumentelt perspektiv på den antikke litteraturen. og eg veit at det objektivt sett er synd på usanske soldatar som kjem heim med ptsd, men eg må tilstå at det er litt vanskeleg for meg å få comfort the afflicted and afflict the comfortable (som han seier stadig vekk i boka) til å rime med det som stundom verkar som eit program designa for å trøyste dei som har vore med på krigsbrotsverk utan å ta opp det dei har vore med på å gjere mot uskuldige folk. den entusiastiske iraksoldaten som fekk psykiske problem fordi han ikkje fekk myrde like effektivt som han helst ville gjorde at det vart sett litt på spissen at individ må li fordi systema er heilt føkka i huet og kvifor kan vi ikkje prøve å løyse systemfeila istf å flikke på stadig fleire individ?

[Bobbi Salkeld · Rating 4 out of 5]

Adam Driver reads the audiobook, and it's at times as intense as Adam Driver. Loved it.

[CJ · Rating 5 out of 5]

Thanks much to Daniel for the introduction!

“Through tragedy, the great Athenian poets were not articulating a pessimistic or fatalistic view of human existence; nor were they bent on filling audiences with despair. Instead, they were giving voice to timeless human experiences-of suffering and grief-that, when viewed by a large audience that had shared those experiences, fostered compassion, understanding, and a deeply felt interconnection. Through tragedy, the Greeks faced the darkness of human existence as a community.”

“It’s not magic, but it works if people are willing to open up and share experiences.”

[Romane | Bookylicious]

No notes because of the big autobiographical aspect of this book (and I do not note life of others)
But nonetheless it was a powerful book, with interesting angles about the good that Greek tragedy can still do to us.

It was full of emotion and sincerity and I loved the time that I passed to listen to it.
Speaking of it, shout-out to Adam Driver for this narrator job. It gave me chills

[Unnati Bose]

Not for me.

[Sarah Smith · Rating 5 out of 5]

First, a disclaimer on why I did NOT think I wanted to read this book. I have never had any interest in Greek tragedies, and the title made me think this would be similar to an art appreciation instructor telling you what you are supposed to appreciate about a piece of art.

Second, I have no interest in getting into a debate about the medium people to choose to consume a book. That being said, the Audible version of this book was read by Adam Driver, a veteran of the US Marine Corps and actor, and added immensely to the enjoyment of this book.

The format of this book was wonderful, because the author:
-shared personal stories of his path from studying classic languages to forming a theater production company that performs Greek tragedies
-included brief history
-drew a clear connection of the moral issues at the center of each Greek tragedy to modern day mental health issues faced by military service members, veterans, and their families (a topic near and dear to me) among other professions.

The book included brief excerpts from each of the plays he discusses, and they were well placed in the book to emphasize how they helped the audience see how these struggles transcend time. Now I want to see a Theater of War performance.

[Jonathan Tennis · Rating 4 out of 5]

I wasn’t sure about this when I picked it up but it had an interesting premise – what do ancient Greek tragedies teach us about how we process more modern-day tragedies. Writing is clear and enjoyable.

“This is not a traditional book about why we should read the classics. It is about the power of tragedies to transcend time, to comfort the afflicted and afflict the comfortable. At its core, it is about how stories can help us heal and possibly even change, before it’s too late.” – p. 8

“What I’ve learned from this work is that if you want to have a discussion about a subject that divides us or makes us uncomfortable, always begin with a portrayal of human suffering. Through empathy, imagination, and shared discomfort, we often find a common language as well as common ground. Tragedy, both theatrical and personal, knows no boundaries. No one can be protected from it. Ancient tragedies, in particular, hold the power to dissolve and transcend all the artificial walls that we humans work so hard to build around ourselves.” – p. 263

[Caroline Roberts · Rating 5 out of 5]

“If you tell people they need to move on, maybe it’s you that needs them to move on.”

“What I have learned from this work is that if you want to have a discussion about a subject that divides us or makes us uncomfortable, always begin with a portrayal of human suffering. Tragedy, both theatrical and personal, knows no boundaries. No one can be protected from it.”

I have a lot of complicated feelings regarding the US military's history and practices, and I was pleasantly surprised that this book does not go out of its way to defend those things at all. It absolutely blew me away. I was not expecting to be as moved, challenged, and informed by it as I was. A majority of the book does focus on processing post-traumatic stress disorder related to military service, but it also handles stuff like communal grief, the debilitating effects of the industrial prison system, art as universal catharsis, and the complexities of dealing with, and facing, mortality. I cannot recommend this book enough.

[Eva · Rating 5 out of 5]

Literature in Action. In real action, not just pretend and people sitting around in silence, politely clapping. This is a report on the application of 2500 year old Greek drama to the wounds of war vets, prisoners, the bereaved, the despondent, the traumatized. This is drama not just as catharsis, a word that is a little worn: Doerries mentions it in passing but does not dwell--but ancient literature as catalyst for expression of common anguish and humanity. It brings to mind Elizabeth Samet's Soldier's Heart: Peace and War at West Point where she teaches West Point cadets literature as they ready for the honorable life of a military officer-- a book on the exercising the imagination in dimensions of valour before the inevitable anguish of the theater of war.

Doerries' book is a testimony to the efficacy of art as salve.

[Leslie · Rating 5 out of 5]

A fascinating account of how the author developed a program using readings from Greek tragedy (written in a society in which most citizens had been soldiers and had seen combat) to help modern troops and their families deal with the same issues experienced by those men and women over two millennia ago, such as PTSD, the loss of close comrades, and feelings of betrayal by the country for which they have put their lives on the line. The majority of the book focuses on this, but the author also devotes chapters to similar programs developed for corrections officers and those who work in hospice and palliative care.

[Carole · Rating 5 out of 5]

What a fascinating story of bringing modern translations of the Greek Tragedies to audiences as a way to engage audiences who have undergone traumatic experiences as diverse as war, natural disasters, prisons, or end-of-life decision-making and care-giving.

Doerries talks about how these plays were used in Greece at the time they were written to provide a communal experience of of the emotional and psychological conflicts inherent in these experiences and through discussions following the performances those who have had similar modern experiences are offered a forum for healing in a communal atmosphere.

[Dorothy Bayles · Rating 4 out of 5]

This was an interesting look at the value of Greek tragedies for emotional and psychological healing. The author successfully uses ancient tragedies in prisons, hospitals, and tragedy torn areas to relate and open conversation about shared human suffering. The thought is that by hearing common themes performed in classical cathartic performances people don’t feel so alone in their suffering and can get some relief. I would like to go to one of the performances.

[Christine · Rating 4 out of 5]

While I was getting lost in the Greek tragedies, I love how it gave people in the present some healing by comparison. Amazing what this auther, scholar, and I guess director did to help people with it. Also a very interesting personal story of a friend slowly passing on.