Abstract

Harley Granville Barker brought Gilbert Murray’s Euripides to America in spectacular outdoor productions in 1915. Paired with his markedly avantgarde Iphigenia in Tauris, the apparently safer and more "classical" Trojan Women was by no means uncontroversial in the officially neutral United States. A coordinated study of Barker’s staging and the marketing of Trojan Women shows the importance of this production in contemporary and subsequent reception and interpretation of this play. Earlier qualms about its structure and static nature are pushed aside by a new view of Trojan Women as the pre-eminent anti-war play of antiquity, a view still dominant today.

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