The Dramatic Use of Exits and Entrances in Greek Tragedy

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.}This} is a fascinating commentary. Every controversial passage (and there are many) is discussed with incisive intelligence, great learning and also good-humored respect for opposing views; from the entry of the chorus in Persians to the final processional exeunt of Eumenides every important exitbrand entrance (real or imagined) provides the cue for an essay which, firmly based on the principles enunciated in the first chapter, enlightens and stimulates the reader. --Bernard Knox, Times Literary SupplementbrTaplin has made Greek tragedy more vivid and more accessible to us all, to the professional classicist, to the historian of the stage, and to would-be performers of ancient drama. He deserves our thanks and congratulations.--Mark Griffith, Phoenixbr(This) is a fascinating commentary. Every controversial passage (and there are many) is discussed with incisive intelligence, great learning and also good-humored respect for opposing views; from the entry of the chorus in Persians to the final processional exeunt of Eumenides every important exitbrand entrance (real or imagined) provides the cue for an essay which, firmly based on the principles enunciated in the first chapter, enlightens and stimulates the reader. --Bernard Knox, Times Literary SupplementbrTaplin has made Greek tragedy more vivid and more accessible to us all, to the professional classicist, to the historian of the stage, and to would-be performers of ancient drama. He deserves our thanks and congratulations.--Mark Griffith, Phoenixbrbr(This) is a fascinating commentary. Every controversial passage (and there are many) is discussed with incisive intelligence, great learning and also good-humored respect for opposing views; from the entry of the chorus in Persians to the final processional exeunt of Eumenides ever