One Man Show : Poetics and Presence in the <Iliad> and <Odyssey>

這本書探討了荷馬史詩的優點，作為單獨演出的劇本。儘管學術上專注於口頭表達和表演的構圖，但我們尚未完全將Iliad和Odyssey解為複雜的腳本。從舞台到頁面的旅程中失去了什麼？

詩的生動性可能會給讀者留下深刻的印象，但是他們可能會錯過這位表演者在古代觀眾如柏拉圖和亞里斯多德所引起的奇怪存在或單調的印象。本書不僅著眼於表演者，不只是將其作為調解人，而且還將其作為一個被多個故事和存在困擾著的表演者，從而使被壓抑的聲音浮現。

從圖像到結構再到背景故事，表演在詩的各個方面都是密不可分的。以前被忽略的背景故事，甚至在一些最熟悉的段落中（例如鳳凰衛視在《伊利亞特9》中的演講）都浮出水面，讀者匆忙瀏覽的段落（例如，奧德修斯與歐馬修斯的相遇）也顯示出一些最豐富的戲劇潛力。透過表現性展示給定段落中孤立的特徵，可以使它們相互協作。

This book plumbs the virtues of the Homeric poems as scripts for solo performance. Despite academic focus on orality and on composition in performance, we have yet to fully appreciate the Iliad and Odyssey as the sophisticated scripts that they are. What is lost in the journey from the stage to the page?

Readers may be readily impressed by the vividness of the poems, but they may miss out on the strange presence or uncanniness that the performer evoked in ancient audience members such as Plato and Aristotle. This book focuses on the performer not simply as transparent mediator, but as one haunted by multiple stories and presences, who brings suppressed voices to the surface.

Performance is inextricable from all aspects of the poems, from image to structure to background story. Background stories previously neglected, even in some of the most familiar passages (such as Phoenix’s speech in Iliad 9) are brought to the surface, and passages readers tend to rush through (such as Odysseus’s encounter with Eumaeus) are shown to have some of the richest dramatic potential. Attending to performance enlivens isolated features in a given passage by showing how they work together.

Katherine Kretler(Auther) 

Publisher:HCenter for Hellenic Studies.