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Topic: Oliver Taplin

	Bryn Mawr Classical Review 04.01.21
		Taplin's guiding thesis is that Homer is a powerful and engaging poet, and that his Iliad is a brilliantly integrated whole, which was sung repeatedly more or less exactly as we have it.
		Taplin himself argues that these theses are not crucial to his larger project (44), and it is true that what we take to be the poetic richness of the Iliad does not depend on how it was composed.
		Taplin may still be right to suggest the Iliad falls naturally into three parts, and it may even be the case that this reflects the fact that Homer occasionally performed it in that way.
	ccat.sas.upenn.edu /bmcr/1993/04.01.21.html (1379 words)

	[No title]
		Taplin offers a scintillating survey and sampler of the reception and adaptation of main aspects of Greek culture especially since 1750 and with considerable emphasis on the last 25 years.
		True, Taplin is not concerned with classical scholarship, but scholars are part of the milieu he surveys and of the general, and often innocuous, tendency to make Greece over in the image of one's own times.
		Taplin's related suggestion that the "wish to divert admiration away from ancient Athens" (207) is somehow due to a global conspiracy of both communist and capitalist governments cannot bear serious scrutiny while making conspiracy's archegete, Oliver Stone, look like Immanuel Kant by comparison.
	www.utexas.edu /depts/classics/faculty/Galinsky/Taplin.html (2038 words)

	Bryn Mawr Classical Review 2001.12.01
		Were someone to use the Taplin collection as a quarry for dissertation topics, it may turn out that Lycophron and Nicander are among the most promising future choices, considering that rescues from critical exile are still a very popular way to construct a new scholarly contribution.
		Taplin himself is introduced in the Notes on contributors as the co-director of the Oxford-based Archive of Performances of Greek and Roman drama and is doing more than most people do in order to keep audiences interested in Classics and in Classics-cum-reception.
		If Taplin's implicit target is the influence of Continental hermeneutics, I must mention that his dust-jacket picture is the same as seen in Lowell Edmunds' almost simultaneous Intertextuality and the reading of Roman poetry (Baltimore and London.
	ccat.sas.upenn.edu /bmcr/2001/2001-12-01.html (2653 words)

	Reception of the texts and images of ancient greece
		When Oliver Taplin was commissioned to write a review for The Times Literary Supplement of the NFT’s season of films of Greek tragedy, he fairly consistently objected to the liberties taken with the ancient plays by the films grouped under all modes but the theatrical.
		It should be borne in mind that, when Taplin arrived at his less than enthusiastic opinion of those films in the NFT season which seemed least theatrical, he had already evidenced a particular interest in the question of modern productions (theatrical) of Greek tragedy.
		Taplin himself concedes readily that a carbon copy of the original’s visual dimension is impossible.
	www2.open.ac.uk /ClassicalStudies/GreekPlays/Colq99/mackinnon99.html (5699 words)

	Centre for Ted Hughes Studies: Katie Mitchell and Oliver Taplin (Site not responding. Last check: 2007-10-11)
		Oliver Taplin discusses his work with Katie Mitchell in the production of Ted Hughes' s adaptation.
		He is going to tread on the "keepsake" of the sacrifice of his daughter, multiplied by the vengeful obsession of her mother.
		DR OLIVER TAPLIN in 'The Experience of an Academic in the Rehearsal Room'.
	www3.sympatico.ca /sylvia.paul/hughes_oresteia1.htm (534 words)

	EMORY CLASSICS: Publications\| Niall W. Slater
		Oliver Taplin has given us one of the more striking pieces of evidence with his demonstration that a South Italian vase depicts a performance of Aristophanes' Thesmophoriazusae,12 and more evidence, including the use of Attic, rather than Doric, Greek on vases to indicate what they are saying, continues to be noted.
		Taplin 1993.5 makes a good case for interpreting Clouds 523, prtouw ±j¤vs' énageËs' Ímçw, to imply that Aristophanes had other venues in which he could have produced the Clouds.
		Taplin 1993.55-60 and 75-78 believes that choruses were part of South Italian performances (though perhaps smaller in number than in Athens), but we should perhaps be a bit more cautious.
	www.classics.emory.edu /indivFacPages/slater/slater19.html (5229 words)

	Achilles
		Indeed, Oliver Taplin (Homeric Soundings - Clarendon 1992) makes a very plausible case in Achilles' defence, focussing on Agamemnon's position as a basileus among other basilees who went to Troy to do him and Menelaos a favour: Agamemnon has broken this arrangement by his handling of Achilles.
		Taplin sees him as long on words but short on actions.
		Again, Taplin argues that the idea of a 'heroic code' is not firmly established: that is why there is so much discussion about it during the course of the poem.
	homepage.ntlworld.com /peter.taylor90/achilles.htm (1200 words)

	Oxford Readings in Aristophanes - Questia Online Library (Site not responding. Last check: 2007-10-11)
		Oliver Taplin reconsidered the intriguing question of the relationship of Old Comedy to the phlyax vases (Comic Angels (Oxford, 1993)).
		Taplin's discussion of two recently discovered vases is especially exciting.
		Intimations of Taplin's new approach appeared in his article "Phallology, Phlyakes, Inconography and Aristophanes", PCPhS 33 (1987), 92-104, as well as in the pendant "Taplin on Cocks", by Don Fowler, CQ 39 (1989), 257-9.
	www.questia.com /PM.qst?a=o&docId=9831265 (447 words)

	[No title]
		Oliver Taplin, introduced as the "father of performance criticism," turned a phrase that was echoed by many other presenters in the conference.
		Arguing that classicists abdicate their role in this dialogue if they continue insisting on the unalterable purity of the original dramas, Taplin encouraged us to be willing to accommodate a wider range of performance possibilities and to "scatter ideas" that grow out of our own scholarship on the plays.
		In any case, it is better to have collaboration with living classicists than to rely on hopelessly out-dated or oddly idiosyncratic handbooks, to which performance professionals often turn if they find living classicists only frowning on them for their deviations.
	www.infomotions.com /serials/bmcr/bmcr-v4n03-grote-symposium.txt (1970 words)

	MASC: MODERN ACTORS STAGING CLASSICS (Site not responding. Last check: 2007-10-11)
		Following Taplin's suggestion (later retracted in Comic Angels) that the scene represented on the vase showing two dramatic fighting cocks facing each other, the production played up the scrapping nature between the two educational philosophies.
		Right was played by a woman dressed in a British public school uniform, complete with pigtails and glasses, being restrained by a servant holding a chain.
		Oliver Taplin, "Phallology, Phlyakes, Iconography and Aristophanes," PCPhS 33 (1987), 92-104; and (slightly revised) Dioniso, 57 (1987), 95-109.
	www.cnrs.ubc.ca /masc/clouds.html (288 words)

	Oliver Taplin Books - Signed, used, new, out-of-print
		Professor Taplin explores nine plays, including Aeschylus' "agamemnon" and Sophocles' "Oedipus the King." The details of theatrical techniques...
		In this refreshing volume, we are offered a new perspective on Greek literature, based on the conviction that our present appreciation for it should be informed and influenced by how it was originally perceived.
		Aeschylus' Agamemnon, the first play in the Oresteia trilogy, is one of the most influential theatrical texts in the global canon.
	www.alibris.com /search/books/author/Taplin,Oliver (631 words)

	Books \| Before the barbarians
		Despite some misgivings, Oliver Taplin finds much to commend in Simon Goldhill's survey of the ancient world, Love, Sex and Tragedy
		We classicists have to make the attempt to follow through our intuition that these were two consecutive eras of extraordinary human creativity and achievement; that they are among the most notable touchstones that show what is ordinary and what is not.
		· Oliver Taplin is a fellow of Magdalen College, Oxford, and author of Homeric Soundings: The Shaping of the Iliad (Clarendon Press).
	books.guardian.co.uk /print/0,,4961733-99931,00.html (1005 words)

	Amazon.com: Greek Tragedy in Action: Books: Oliver Taplin (Site not responding. Last check: 2007-10-11)
		Oliver Taplin concentrates on nine plays including Aeschylus' Agamemnon and Sophocles' Oedipus the King.
		Oliver Taplin is Fellow and Tutor, Magdalen College, Oxford, and Lecturer in Greek and Latin, University of Oxford.
		Taplin's landmark study not only opened up new (very modern) ways of looking at his subject; it also is very readable!
	www.amazon.com /exec/obidos/tg/detail/-/0415043123?v=glance (772 words)

	News: Ancient drama and French short story attract AHRB funding
		Professor Oliver Taplin received £554,295 for the five-year research project 'The Performance Reception of Greek and Roman Plays', which is to start in October 2004 at the Archive of Performances of Greek and Roman Drama.
		The project will focus on the performance of drama in antiquity, c.500BC–c.500AD; ancient drama in opera from the early modern period to the present; and ancient drama in dance from the early modern period to the present.
		Professor Taplin's colleagues as directors of the project are Professor Edith Hall at the University of Durham and Mr Peter Brown, Tutor in Classics at Trinity College.
	www.admin.ox.ac.uk /po/news/2003-04/jun/04b.shtml (160 words)

	BBC - Radio 4 In Our Time - The Odyssey
		Oliver Taplin, Classics Scholar and Translator at Oxford University
		Oliver Taplin also recommended Robert Fitzgerald's translation for Everyman's Library Classics.
		Oliver himself has published An Odyssey Round Odysseus which is now out of print but can be picked up second-hand quite easily.
	www.bbc.co.uk /radio4/history/inourtime/inourtime_20040909.shtml (358 words)

	Lively Arts - Theatre (Site not responding. Last check: 2007-10-11)
		THE SWALLOW SONG (adapted by Koniordou and Theophanis Kakridis) also benefits greatly from its fresh, supple translation by Oliver Taplin, professor of Classics at Oxford University.
		Working in a variety of meters and forms, Taplin has produced a text that is rooted in the past but sounds contemporary without being anachronistic.
		The actors did not have to force themselves to speak their lines well and clearly, a common problem with awkwardly translated Greek drama.
	www.lively-arts.com /theatre/0411/swallow_song.htm (334 words)

	intro1 (Site not responding. Last check: 2007-10-11)
		The purpose of this lecture is to present various literary, visual, and aural evidence of the performance of tragedy in order to provide you a context for your readings this term.
		When we read a Greek tragedy, as Oliver Taplin says, “we need to enact the play in our mind.” This mental enactment requires some knowledge of the Greek theater and its conventions.
		In addition I am going to discuss the development of the genre and the cultural background of dramatic performance.
	depthome.brooklyn.cuny.edu /classics/dunkle/tragedy/intr1.htm (242 words)

	Unextinguished Laughter (Site not responding. Last check: 2007-10-11)
		It is the Würzburg Telephos that constitutes one of Taplin's prime examples for the representation of Athenian comedy.
		Most interestingly for us and Taplin, the man's phallus is not visible.
		Both Aristophanes' text and Taplin's vase demonstrate that locating the phallus in Old Comedy is fraught with problems.
	ccwf.cc.utexas.edu /~gradconf/nowyouseeit.html (504 words)

	City and County of Swansea - War Veteran 100th Birthday (Site not responding. Last check: 2007-10-11)
		FORMER Merchant Navy sea man Oliver Taplin has celebrated his centenary with a special party at Bonymaen House residential home attended by Swansea Council deputy Lord Mayor Mair Gibbs.
		Mr Taplin was also joined by family, friends, fellow residents and staff for his very special day.
		He was married in Swansea in July 1927 and served with the Merchant Navy for much of the Second World War.
	www.swansea.gov.uk /index.cfm?articleid=5126&articleaction=print (213 words)

	CL2442A Greek Drama Special Topics (Site not responding. Last check: 2007-10-11)
		As in Taplin's "Introduction to nine plays" chapter, this should set out what you see as the principal problems or questions in the interpretation of this play, which your analysis will then go on to address.
		It should reflect not only your views but the current state of critical reception of this play, based on a study of the recent secondary literature.
		It should asterisks or similar to indicate which you have read yourself, with cross-references to pages of your essay where each work is mentioned.
	www.rhul.ac.uk /classics/courses/2442/topics.html (839 words)

	Electronic Antiquities Volume I, Number 6
		More and more classicists are getting involved with Greek and Roman plays as performance texts; theater practitioners have always been so.
		Dialogue between the two groups of specialists, and among individual artists and scholars, is essential.
		During the course of the conference on Sophocles' Electra at Northwestern University in May 1993 (reviewed in BMCR 4), Oliver Taplin addressed the need for an electronic newsletter devoted to publicizing modern productions of ancient theater.
	scholar.lib.vt.edu /ejournals/ElAnt/V1N6/didaskalia.html (363 words)

	Ibsen Voyages - with Brian Johnston
		However, it rarely is taken into account as a major interpretive tool even when, as with Pickard-Cambridge and others, the author has shown a thorough awareness of the existence of the rule.
		Oliver Taplin, giving the subject barely a paragraph in Greek Tragedy in Action, believes there is no greater significance to the rule than a shortage of first-class actors during the Dionysian festival.
		He thus misses one of the great subtleties of the three-actor rule in Sophocles' hands and especially in Oedipus at Colonus.
	www.ibsenvoyages.com /e-texts/theseus (1561 words)

	The Swallow Song (Visit the Getty)
		Directed by and starring Lydia Koniordou, one of the world's finest classical Greek actresses, The Swallow Song is adapted by Koniordou and Theophanis Kakridis, a noted dramatic philologist, and translated from the ancient Greek by Oliver Taplin, professor of classics and co-director of the Archive of Performances of Greek and Roman Drama at Oxford University.
		Due to mature content in some scenes, this production is not recommended for children under 10 years of age.
		A special Q & A with Koniordou and Taplin, along with Mary Hart, Assistant Curator of Antiquities, will be held on Thursday, October 21, and Saturday, October 23, following the performance.
	www.getty.edu /visit/events/swallow_song.html (399 words)

	Oliver Taplin Books - Signed, used, new, out-of-print (Site not responding. Last check: 2007-10-11)
		Oliver Taplin's seminal study was revolutionary in drawing out the significance of stage action in Greek tragedy at a time when plays were often read purely as texts, rather than understood as performances.
		In this book, Taplin looks for clues to Aeschylus's stagecraft in the texts of the plays themselves, analyzing the exits and entrances that occur throughout his works.
		Portions of book data provided by Muze Inc. Copyright 1995-2006 Muze Inc. For personal use only.
	www.alibris.com /search/books/author/Oliver_Taplin (631 words)

	Amazon.com: Greek Tragedy in Action: Books: Oliver Taplin (Site not responding. Last check: 2007-10-11)
		Professor Taplin explores nine plays, including Aeschylus' agamemnon and Sophocles' Oedipus the King.
		The details of theatrical techniques and stage directions, used by playwrights to highlight key moments, are drawn out and related to the meaning of each play as a whole.
		Now firmly established as a classic text, Greek Tragedy in Action is even more relevant today, when performances of Greek tragedies and plays inspired by them have had such an extraordinary revival around the world.
	www.amazon.com /exec/obidos/tg/detail/-/041530251X?v=glance (828 words)

	Comic Angels and Other Approaches to Greek Drama Through Vase-paintings; Author: Taplin, Oliver (Fellow and Tutor in ...
		Comic Angels and Other Approaches to Greek Drama Through Vase-paintings; Author: Taplin, Oliver (Fellow and Tutor in Greek and Latin Language and Literature, Magdalen College, Oxford); Paperback
		Author: Taplin, Oliver (Fellow and Tutor in Greek and Latin Language and Literature, Magdalen College, Oxford)
		This volume offers a thesis about the relation of tragedy and comedy to vase-paintings, the cultural climate of cities of the Greek world outside Athens, and the extent to which Athenians were aware of drama as a commodity they could export.
	www.netstoreusa.com /aabooks/019/0198150008.shtml (232 words)

	films of Greek dramas at Temple
		Performed by the London Small Theatre Company (earlier version of Aquila) and directed by Peter Meineck, this modernized production of Aeschylus' play features brilliant acting and a new translation that eventually became part of the Oresteia read at Temple.
		The components of the historic Oresteia at the British National Theatre, by Peter Hall and Oliver Taplin.
		Note that the sound of these tape do not work well with the standard vcr-tv combo.
	www.temple.edu /classics/dramavideos.html (350 words)

	Didaskalia - Taplin
		The author of such well-known books on ancient theatre as
		, Oliver Taplin is the man behind the founding of
		Together with his colleage Edith Hall (formerly of Somerville College) he has established the Archive of the Performance of Greek and Roman Drama at Oxford.
	www.didaskalia.net /profiles/taplin.html (74 words)

	Amazon.com: Literature in the Greek World: Books: Oliver Taplin (Site not responding. Last check: 2007-10-11)
		by Oliver Taplin (Editor) "The rosy fingers which heralded the extraordinary era we know as 'ancient Greece' first gradually spread between about 900 and 700 BCE..." (more)
		Buy this book with Literature in the Roman World by Oliver Taplin today!
		Literature in the Roman World by Oliver Taplin
	www.amazon.com /exec/obidos/tg/detail/-/0192893033?v=glance (783 words)

	antnotes
		The approach that attempts to draw stage-directions and clues from the script as a means of imaging the play's performance was first elaborated by Oliver Taplin, Greek Tragedy in Action (Berkeley 1978).
		In this way, he could use the similarities, both visually and verbally, to highlight the differences between the scenes.
		Also possible is "a pain reaching to heaven." The Greek does not suggest "heavenly" in the sense of "delightful" or "beatific."
	www.stoa.org /diotima/anthology/ant/antnotes.htm (5142 words)

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