Comparative Drama<\/em> Vol. 58, Iss. 1<\/p>\n2022–Conference not held<\/p>\n
2021–Lee Conderacci, \u201c\u2018Shakespeare\u2019s #MeToo Play\u2019? Shakespeare and Sexual Politics on the Contemporary Stage,\u201d\u00a0Text and Presentation, 2021<\/em><\/p>\n2020–COVID-19 Wins<\/p>\n
2019–Victorian Lynn Scrimer “Radical Resurrections: A Performance History of John Brown\u2019s Body,\u201d Text and Presentation, 2019<\/em>.<\/p>\n2018–Victoria Lynn Scrimer “Performing a Postmodern Prometheus: Percy Shelley\u2019s Prometheus Unbound from Page to Stage,” Text and Presentation<\/em>, 2018.<\/em><\/p>\n2017–Mary Lutze\u00a0\u201cChallenging Accessibility: The \u2018Radical Deaf Theatre\u2019 of Aaron Sawyer\u2019s\u00a0<\/span><\/span>The Vineyard,<\/span><\/span><\/em>\u201d<\/span><\/span>\u00a0 Text and Presentation, 2017<\/em>.<\/span><\/p>\n2016 — Beck Holden “Signifyin’ Sam: Motivated Signifyin(g) and Future Nostalgia in Post-Reconstruction Black Musicals,” Text and Presentation, 2016<\/em>.<\/p>\n2015 \u2013 Lydia Craig, \u201cPolitic Silence: Female Choruses in Lochhead\u2019s Medea<\/em> and Wertenbaker\u2019s The Love of the Nightingale,<\/em>\u201d\u00a0Text and Presentation, 2015<\/em><\/p>\n2014 \u2013 Giuseppe Sofo, \u201cTranslating Tempests: A Reading of Aim\u00e9 C\u00e9saire\u2019s Une Temp\u00eate<\/em> in Translation,\u201d Text and Presentation, 2014<\/em><\/p>\nPreviously Awarded\u00a0<\/p>\n
The Philadelphia Constantinidis Essay\u00a0<\/span>in Critical Theory Award<\/strong><\/p>\nThe $1000 Philadelphia Constantinidis Essay in Critical Theory Award was given to the best comparative essay on any aspect and period of Greek drama or theatre that was published in English in any journal or anthology in any country between January 1 and December 31 in the prior year. The award was established in 2006 in memory of Philadelphia Constantinidis to encourage research and writing on Greek drama and theatre. This was an open rank competition for academics, independent scholars, and doctoral students. The award was administered by the Board of the Comparative Drama Conference. The Board solicited nominations and self-nominations for this award.<\/div>\n
\u00a0<\/div>\n
Philadelphia A. Constantinidis (1912-1982), was born in Artaki, lived in Thessaloniki, and died in Athens. She was the youngest child of a wealthy merchant who lost everything that he owned when the Greek-Anatolians were driven out of their homeland in 1922. She was a survivor of the First World War, the Greek-Turkish war, the Second World War, and the Greek Civil War. Her husband died from an old wound in 1950 and she raised her two sons alone. Her oldest son was killed in 1983. She often expressed her philosophy of life with a quote from a Greek play: \u201c\u1f04\u03bd\u03b4\u03c1\u03b1 \u03b4\u1fbd \u1f60\u03c6\u03b5\u03bb\u03b5\u1fd6\u03bd \u1f10\u03c6\u1fbd \u1f67\u03bd \u1f14\u03c7\u03bf\u03b9 \u03c4\u03b5 \u03ba\u03b1\u1f76 \u03b4\u03cd\u03bd\u03b1\u03b9\u03c4\u03bf \u03ba\u03ac\u03bb\u03bb\u03b9\u03c3\u03c4\u03bf\u03c2 \u03c0\u03cc\u03bd\u03c9\u03bd\u201d (\u039f\u0399\u0394\u0399\u03a0\u039f\u03a5\u03a3 \u03a4\u03a5\u03a1\u0391\u039d\u039d\u039f\u03a3, 314-315). She occasionally replaced the word \u201c\u1f04\u03bd\u03b4\u03c1\u03b1\u201d (man) with the word \u201c\u03b3\u03c5\u03bd\u03ae\u201d (woman).<\/p>\n
Previous Constantinidis Award recipients<\/em><\/p>\n2021–Phillip Zapkin (Pennsylvania State University), \u201cUbuntu<\/em> Theater: Building a Human World in Yael Farber\u2019s Molora<\/em>” in PMLA<\/em>, volume 136, issue 3: 386-400.<\/p>\n2020\u00a0 Anastasia Stavroula Valtadorou (University of Edinburgh), \u201cEr\u00f4s in Pieces (?): Tragic Er\u00f4s in Euripides\u2019 Fragmentary Andromeda and Antigone\u201d in Greek Drama V. Studies in the Theatre of the Fifth and Fourth Centuries BCE<\/em>,\u00a0 edited by Hallie Marshall and C.W. Marshall, London: Bloomsbury:\u00a0 115-28.<\/p>\nPart of the tradition of the conference has been for the winner of the Constantinidis Award to address the assembled body and give a five-minute summation of their work.\u00a0 The pandemic made this impossible this year.\u00a0 Since Dr. Valtadorou did not have a platform to share her comments in person,\u00a0 we offer them here instead:<\/h6>\n\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 I am extremely honoured to accept the Constantinidis award for my paper \u201cEr\u00f4s<\/em> in Pieces (?): Tragic Er\u00f4s<\/em> in Euripides\u2019 Fragmentary Andromeda<\/em> and Antigone<\/em>\u201d, an award dedicated to the memory of a great woman and given to many distinguished scholars in the past, such as Toph Marshall, Gonda Van Steen and Marilynn Richtarik, among others.\u00a0 In this essay, I have set out to explore tragic eros<\/em> (\u2018erotic desire\u2019) and I argue that it is more multifarious than commonly accepted. More specifically, I have focused on, and explore comparatively, Euripides\u2019 fragmentary Antigone<\/em> (420\u2013406 BC) and Euripides\u2019 Andromeda <\/em>(412 BC), which both present young male characters falling in love with their future brides. As I show in detail, these dramas present us with examples of heterosexual couples whose eros<\/em> does not end in disaster, but in a wedding; in both plays a young couple, after triumphing over formidable obstacles, will marry, have children and, in all likelihood, live happily together. Not only does eros<\/em> not destroy, but it even leads to the establishment of a new oikos<\/em>. Therefore, the exploration of these lost plays, and their comparison with other well-known dramas, allows for an important re-evaluation of Greek tragedy and its limits as a genre.<\/h6>\n2019\u00a0 The committee determined that none of the nominated papers met the award requirements.<\/p>\n
2018\u00a0 \u00a0 \u00a0 \u00a0 Marilynn Richtarik (Georgia State University), \u201cReality and Justice: Seamus Heaney\u2019s The Cure at Troy,<\/em>\u201d\u00a0Estudios Irlandeses<\/em> 13 (2018):\u00a098-112.<\/p>\n2017\u00a0 \u00a0 \u00a0 \u00a0The committee determined that none of the nominated papers met the award requirements.<\/p>\n
2016\u00a0 \u00a0 \u00a0 \u00a0The committee determined that none of the nominated papers met the award requirements.<\/p>\n
2015\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 C. W. “Toph” Marshall (University of British Columbia), \u201cPerformance Reception and the Cambridge Greek Play: Aristophanes’ Frogs in 1936 and 1947.\u201d Classical Receptions Journal<\/em> 7\/2 (2015): 177-202.<\/p>\n2014\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Peter E. Portmann (University of Manchester), \u201cArabs and Aristophanes, Menander among the Muslims: Greek Humor in the Medieval and Modern Middle East.\u201d International Journal of the Classical Tradition<\/em> 21\/1 (2014): 1-29.<\/p>\n2013\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Gonda Van Steen (University of Florida), \u201cThe Story of Ali Retzo: Brechtian Theatre in Greece under the Military Dictatorship.\u201d Journal of Modern Greek Studies<\/em> 31\/1 (2013): 85-115.<\/p>\n2012\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Loren Kruger (University of Chicago), \u201cOn the Tragedy of the Commoner: Elektra, Orestes, and Others in South Africa.\u201d Comparative Drama<\/em> 46\/3 (2012): 355-377.<\/p>\n2011\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Robert Davis (City University of New York), \u201cIs Mr. Euripides a Communist? The Federal Theatre Project\u2019s 1938 Trojan Incident.<\/em>\u201d Comparative Drama<\/em> 44\/4 (2010) and 45\/1 (2011): 423-440.<\/p>\n2010\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Amanda Wrigley (Open University, UK), \u201cA Wartime Radio Odyssey: Edward Sackville-West and Benjamin Britten\u2019s The Rescue<\/em> (1943).\u201d The Radio Journal: International Studies in Broadcast and Audio Media<\/em> 8\/2 (2010): 81-104.<\/p>\n2009\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Melinda Powers (John Jay College of Criminal Justice, City University of New York), \u201cUnveiling Euripides.\u201d Journal of Dramatic Theory and Criticism<\/em> 23\/2 (2009): 5-19.<\/p>\n2008\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The committee determined that none of the nominated papers met the award requirements.<\/p>\n
2007\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The committee determined that none of the nominated papers met the award requirements.<\/p>\n
2006\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Kelly Younger (Loyola Marymount University,) \u201cIrish Antigones: Burying the Colonial System.\u201d Colloquy: text theory critique<\/em> 11 (2006): n.p.<\/p>\n\n\n<\/p>\n","protected":false},"excerpt":{"rendered":"
The Comparative Drama Conference bestows two awards every year. The Joel Tansey Memorial Award for Graduate Student Travel to the Comparative Drama Conference The Comparative Drama Conference is pleased to announce this award, established in 2016, and presented in memory of Joel Tansey, award-winning scholar, writer, professor of French Literature, and Assistant Editor of Text … <\/p>\n
Continue reading “Conference Awards”<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-47","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/pages\/47","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/comments?post=47"}],"version-history":[{"count":32,"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/pages\/47\/revisions"}],"predecessor-version":[{"id":900,"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/pages\/47\/revisions\/900"}],"wp:attachment":[{"href":"https:\/\/blogs.rollins.edu\/drama\/wp-json\/wp\/v2\/media?parent=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}