In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.

中文翻译：

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作为表演的古希腊悲剧：文学表演成问题

在这篇文章中，马里奥·弗伦多（Mario Frendo）将古希腊悲剧视为一种表演现象，质疑仅通过文学-戏剧方法来处理它的批评。基于古希腊悲剧在公元前五世纪希腊的口头语境中发展的前提，他借鉴了汉斯-蒂斯·莱曼对悲剧及其与戏剧的关系的研究，认为该类型本质上是“前戏” . 照此考虑，古希腊悲剧不能用早期现代以来发展起来的戏剧理论来充分研究。有鉴于此，Walter J. Ong 对几代文学文化产生的理性过程的谨慎将得到承认，并寻求替代批评，包括表演批评和以表演为导向的框架，例如口头表达，弗雷多通过这些框架追踪可能的批评轨迹，这将使当代学术界能够将古代悲剧作为一种表演而不是文学现象来处理。将提及亚里士多德对“诗歌”一词的使用，以及表演批评如何提供新的洞察力诗论处理西方最早的表演现象之一。Mario Frendo 是马耳他大学表演艺术学院戏剧与表演系讲师兼戏剧研究系主任，他是该学院的负责人，CaP 是一个专注于文化与表演之间联系的研究小组。他的研究兴趣包括戏剧中的音乐性、古代悲剧以及哲学思想与表演之间的关系。