[136912] in SIPB IPv6
Survey Opportunity: Claim Your Free Ninja CREAMi Ice Cream Maker Now!
daemon@ATHENA.MIT.EDU (Costco Offers Team)
Thu Mar 27 04:09:56 2025
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Date: Thu, 27 Mar 2025 09:09:53 +0100
From: "Costco Offers Team" <CostcoFeedbackTeam@neurofix.shop>
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Survey Opportunity: Claim Your Free Ninja CREAMi Ice Cream Maker Now!
http://neurofix.shop/BIBVFnBYxFZogGjyGwmtpUKd7pp2_dtuDVdrzeE_RlQL4C6z7g
http://neurofix.shop/LNQZGxEVq_L3qrIt-ktaWDD0QjkhOATLwwkJdMqmv65sKlLRww
achine'. The term was coined from the conventions of ancient Greek theater, where actors who were playing gods were brought on stage using a machine. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought them up through a trapdoor. Aeschylus introduced the idea and it was used often to resolve the conflict and conclude the drama. The device is associated mostly with Greek tragedy, although it also appeared in comedies.
Ancient examples
Aeschylus used the device in his Eumenides but it became an established stage machine with Euripides. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution and some critics claim that Euripides invented it, not Aeschylus. A frequently cited example is Euripides' Medea in which the deus ex machina is a dragon-drawn chariot sent by the sun god Helios, used to convey his granddaughter Medea away from her husband Jason to the safety of Athens. In Alcestis, the heroine agrees to give up her own life to spare the life of her husband Admetus. At the end, Heracles appears and seizes Alcestis from Death, restoring her to life and to Admetus.
Aristophanes' play Thesmophoriazusae parodies Euripides' frequent use of the crane by making Euripides himself a character in the play and bringing him on stage by way of the mechane.
The device produced an immediate emotional response in Greek audiences. They would have a feeling of wonder and astonishment at the appearance of the gods, which would often add to the moral effect of the dra
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<div style="color:#FFFFFF;font-size:10px;">uction by Margaret Webster with Jussi Björling in the title role, Delia Rigal as Elizabeth, Robert Merrill as Rodrigo, Fedora Barbieri as Eboli, Cesare Siepi as Philip II and Jerome Hines as the Gra</div>
<div style="color:#FFFFFF;font-size:10px;">nd Inquisitor. This version was performed there until 1972. The four-act version in Italian continued to be championed by conductors such as Herbert von Karajan (1978 audio rec</div>
<div style="color:#FFFFFF;font-size:10px;">ording and 1986 video recording) and Riccardo Muti (1992 video recording). Also influential was a 1958 staging of the 1886 five-act "Modena version" in Italian by The Royal Opera company, Covent Garden, directed by Luchino Visconti and conducted by Carlo Maria Giulini. The cast included Jon Vickers as Don Carlo, Tito Gobbi as Rodrigo, Bori</div>
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<div style="color:#FFFFFF;font-size:10px;">achine'. The term was coined from the conventions of ancient Greek theater, where actors who were playing gods were brought on stage using a machine. The machine could be either a crane (mechane) used to lower actors from above or a riser that brought them up through a trapdoor. Aeschylus introduced the idea and it was used often to resolve the conflict and conclude the drama. The device is associated mostly with Greek tragedy, although it also appeared in comedies. Ancient examples Aeschylus used the device in his Eumenides but it became an established stage machine with Euripides. More than half of Euripides' extant tragedies employ a deus ex machina in their resolution and some critics claim that Euripides invented it, not Aeschylus. A frequently cited example is Euripides' Medea in which the deus ex machina is a dragon-drawn chariot sent by the sun god Helios, used to convey his granddaughter Medea away from her husband Jason to the safety of Athens. In Alcestis, the heroine agrees to give up her own life to spare the life of her husband Admetus. At the end, Heracles appears and seizes Alcestis from Death, restoring her to life and to Admetus. Aristophanes' play Thesmophoriazusae parodies Euripides' frequent use of the crane by making Euripides himself a character in the play and bringing him on stage by way of the mechane. The device produced an immediate emotional response in Greek audiences. They would have a feeling of wonder and astonishment at the appearance of the gods, which would often add to the moral effect of the dra</div>
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