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Abstract
This paper identifies two revivals of interest in Senecan drama over the last century, that of the 1920's and that of the 1960's, and argues that concern with the capacity of Seneca's extreme plots to express the monstrosities of modern life and with the scholarly debate over the performance and stageability of his plays motivated a continuous interest in Senecan drama in both scholarship and performance, with Ted Hughes' Seneca's Oedipus (produced 1968) acting as a crucial catalyst for the latter.
Published Online: 2009-05-14
Published in Print: 2009-May
© Walter de Gruyter 2009
