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3359 Mississauga Road, Maanjiwe nendamowinan, 4th floor
Mississauga ON L5L 1C6
Bio and research overview
Martin Revermann is a Classicist and Theatre Studies scholar. His research interests are not confined to Graeco-Roman antiquity but cover the cultural history of theatre (both Western and Asian) more broadly and until the 21st century. Specific areas include performance criticism of Greek drama, the cultural history of Greek theatre from antiquity to the 21st century, the history and theory of translation, theatre iconography, theatre theory and theatre sociology. Another major focus of his research is the work of Bertolt Brecht, especially exploring Brecht’s position as a playwright, director and theorist within the history of theatre as a whole. He is also working on the history of theatre audiences and playgoing. His research (and graduate teaching) therefore integrates Classics, Theatre Studies, Comparative Literature, German Studies and History.
Revermann’s award-winning doctoral research was the foundation of Comic Business. Theatricality, Dramatic Technique and Performance Contexts of Aristophanic Comedy (Oxford 2006). He has edited or co-edited five other books: Performance, Iconography, Reception. Studies in Honour of Oliver Taplin (Oxford 2008), Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages (Berlin/New York 2010), The Cambridge Companion to Greek Comedy (Cambridge 2014), A Cultural History of Theatre (Vol. 1: Antiquity) (London 2017) and Semiotics in Action (Brno 2020). His latest book is Brecht and Tragedy: Radicalism, Traditionalism, Eristics (Cambridge 2022).
Revermann was trained as a Classicist in Germany and the UK, and holds a doctorate from the University of Oxford (where was a Rhodes Scholar). He also held research fellowships at Merton College (Oxford University), at Harvard’s Center for Hellenic Studies, at the School of Advanced Study (London) and at Cambridge University. In 2022 he was awarded the Humboldt Prize for his work.
M.A. (LMU Munich) (distinction)
Staatsexamen (LMU Munich) (distinction)
M.A. (University of Oxford, honorary)
Ph.D. (University of Oxford)
Member, Centre for Drama, Theatre and Performance Studies
Associate Member, Centre for Comparative Literature
Associate Member, Department of Germanic Languages and Literatures
Member, Department of Classics
Previous appointments, fellowships and major awards
Humboldt Prize, Alexander von Humboldt Foundation
Visiting Fellow, Pembroke College, Cambridge (January to September 2022)
Desmond Morton Research Excellence Award, University of Toronto
Distinguished Visiting Scholar, Classics Department, University of St. Andrews
T.B.L. Webster Fellow, School of Advanced Study, University of London
Junior Research Fellow, Merton College, Oxford
Junior Fellow, Harvard’s Center for Hellenic Studies, Washington D.C.
Rhodes Scholar (at Corpus Christi College, Oxford)
Lecturer in Classics, Magdalen College, Oxford
Senior Scholar, Corpus Christi College, Oxford
Member of the Studienstiftung des deutschen Volkes (Berlin)
Ancient Greek drama: production, reception, iconography, sociology
Theory of drama
History and theory of translation
Sociology, psychology and history of playgoing
Other work experience
Strategic management consulting
Care for elderly people in seniors’ home
Work with mentally handicapped adults (volunteering)
(2022) Brecht and Tragedy: Radicalism, Traditionalism, Eristics. Cambridge (Cambridge University Press) (492 pp., 38 colour illus., 18 b/w illus.)
[pbk. edition August 2022].
[Book launch event, hosted by the Oxford Archive of Performances of Greek and Roman Drama, available at https://www.youtube.com/watch?v=1QUl0R4eb10.]
(2019, editor) Semiotics in Action. (= Theatralia vol. 22 Supplementum). Brno (Masaryk University Press) (139 pp., 11 illustrations).
(2017, editor) The Cultural History of Theatre, vol. 1 (‘Antiquity’). London (Bloomsbury/Methuen Drama; General Editors: C. Balme/T. Davis) (xii + 254 pp., 14 illustrations)
[Pbk. edition published in 2019.]
(2014, editor) The Cambridge Companion to Greek Comedy. Cambridge (Cambridge University Press) (xvii + 498 pp., 24 illustrations).
[Translation into modern Greek appeared in 2018.]
(2010, edited with I. Gildenhard) Beyond the Fifth Century: Interactions with Greek Tragedy from the Fourth Century BCE to the Middle Ages. Berlin and New York (de Gruyter, 441 pp.)
[Pbk. edition published in 2016.]
(2008, edited with P. Wilson) Performance, Iconography, Reception. Studies in Honour of Oliver Taplin. Oxford (Oxford University Press, xi + 583 pp.).
(2006) Comic Business. Theatricality, Dramatic Technique and Performance Contexts of Aristophanic Comedy. Oxford (Oxford University Press) (xiv + 396 pp., 15 illustrations).
(2021) ‘Women as Strangers in Brecht’s Early Poetry/Frauen als Fremde in der frühen Dichtung Brechts’. Brecht Yearbook 46: 164-81.
(in press) ‘Divinity on the classical Greek stage: proposing a new model’. In: P. Totaro, S. D. Olson and O. Taplin (edd.) Page&Stage. The
Relation between Texts and Performance of Ancient Greek Theatre. Berlin/New York (de Gruyter).
(2019a) ‘Beckett and the Theatrical Sign: the Need for Semiotics’, in M. Revermann (ed.), Semiotics in Action (= Theatralia Supplementum 22), 9-22.
(2019b) Entries ‘Axionicus’, ‘business, stage’, ‘entrances and exits’, ‘Euripides’, ‘gesture’, ‘Heniochus’, ‘Lysistrata (play)’, ‘Lysistrata (character)’, ‘revision of scripts (post-performance)’, ‘Sophocles’, ‘stage-directions, implicit’, ‘windows’, in Sommerstein, A. (ed.) The Encyclopedia of Greek Comedy. Malden, MA and Oxford.
(2018) ‘Bert’s Bard: (Re)Assessing Brecht’s Translation of Shakespeare’s Coriolanus’, Brecht Yearbook 43: 210-29.
(2017a) ‘Introduction: Cultural History and the Theatres of Antiquity’, in: Revermann, M. (ed.) The Cultural History of Theatre, vol. 1 (‘Antiquity’). London (Bloomsbury Methuen Drama; General Editors: C. Balme/T. Davis), 1-15.
(2017b) ‘Institutional Frameworks’, in: Revermann, M. (ed.) The Cultural History of Theatre, vol. 1 (‘Antiquity’). London (Bloomsbury Methuen Drama; General Editors: C. Balme/T. Davis), 17-33.
(2017c) ‘Interpretations’, in: Revermann, M. (ed.) The Cultural History of Theatre, vol. 1 (‘Antiquity’). London (Bloomsbury Methuen Drama; General Editors: C. Balme/T. Davis), 103-19.
(2016a) ‘Reception of Tragedy 500 to 323 BCE’, in van Zyl Smit, B. (ed.) A Handbook to the Reception of Greek Drama. Malden, MA and Oxford, 13-28.
(2016b) ‘Brecht and Greek tragedy: re-thinking the dialectics of utilizing the tradition of theatre’. German Life and Letters 69: 215-34.
(2014a) ‘Introduction’, in Revermann, M. (ed.) The Cambridge Companion to Greek Comedy. Cambridge (Cambridge University Press), 1-23.
(2014b) ‘Divinity and religious practice’, in Revermann, M. (ed.) The Cambridge Companion to Greek Comedy. Cambridge (Cambridge University Press), 275-87.
(2013a) ‘Brechtian Chorality’, in Billings, J., F. Budelmann and F. Macintosh (eds.) (2013) Choruses, Ancient&Modern. Oxford (Oxford University Press), 151-69.
(2013b) ‘Paraepic Comedy: Point(s) and Practices’, in Bakola, E., L. Prauscello and M. Telò (eds.) (2013) Comic Interactions: Comedy and Other Genres. Cambridge (Cambridge University Press), 101-28.
(2013c) ‘Generalizing about Props: Greek Drama, Comparator Traditions, and the Analysis of Stage Objects’, in Harrison, G. and V. Liapis (eds.) (2013) Performance in Greek and Roman Theatre. Leiden (Brill), 77-88.
(2013d) ‘Théoriser les accesoires: théâtre grec, outils comparatifs et analyse des accessoires’ (= French translation, by Brigitte LeGuen, of ‘Generalising about Props’), in LeGuen, B. and S. Milanezi (eds.) (2013) L’Attirail Scenique dans les Spectacles de l’ Antiquité. Paris, 35-49.
(2011) ‘Brecht’s Asia vs. Brecht’s Greece: Cultural Constructs and the Explanatory Power of a Binary’, The Brecht Yearbook 36: 277-90.
(2010a) ‘Introduction’ (co-authored with I. Gildenhard) to Gildenhard, I. and M. Revermann (eds.) (2010) Beyond the Fifth Century: Interactions with Greek Tragedy from 400 BCE to the Middle Ages. Berlin and New York (de Gruyter), 1-35.
(2010b) ‘Situating the Gaze of the Recipient(s): Theatre-Related Vase Paintings and their Contexts of Reception’, in Gildenhard, I. and M. Revermann (eds.) (2010) Beyond the Fifth Century: Interactions with Greek Tragedy from 400 BCE to the Middle Ages. Berlin and New York (de Gruyter), 69-97.
(2010c) ‘On Misunderstanding Lysistrata, Productively’, in D. Stuttard (ed.) (2010) Looking at Lysistrata. London (Duckworth), 70-79.
(2008a) ‘Introduction’ (co-authored with P. Wilson), in: Revermann, M. and P. Wilson (eds.) Performance, Iconography, Reception: Studies in Honour of Oliver Taplin, Oxford (Oxford University Press), 1-12.
(2008b) ‘Aeschylus’ Eumenides, Chronotopes, and the “Aetiological Mode”’, in: Revermann, M. and P. Wilson (eds.) Performance, Iconography, Reception: Studies in Honour of Oliver Taplin, Oxford (Oxford University Press), 237-61.
(2008c) ‘The Semiotics of Curtain Calls’, Semiotica 168: 191-202.
(2008d) ‘The Appeal of Dystopia: Latching onto Greek Drama in the 20th Century’, Arion 16: 97-117.
(2008e) ‘Reception Studies of Greek Drama’, Journal of Hellenic Studies 128: 175-8.
(2006) ‘The Competence of Theatre Audiences in 5th- and 4th-Century Athens’, Journal of Hellenic Studies 126: 99-124.
(2005) ‘The Cleveland Medea Calyx Crater and the Iconography of Ancient Greek Theatre’, Theatre Research International 30: 3-18.
(2003) ‘Spatio-Temporal Dynamics in Sophocles’ Oedipus the King’, University of Toronto Quarterly 72: 789-800.
(1999/2000) ‘Euripides, Tragedy and Macedon: Some Conditions of Reception’, in: Cropp, M., K. Lee and D. Sansone (eds.) Euripides and Tragic Theatre in the Late Fifth Century. Illinois Classical Studies 24/25: 451-67.
(1999) ‘The Shape of the Athenian Orchestra in the Fifth Century: Forgotten Evidence’. Zeitschrift für Papyrologie und Epigraphik 128: 25-28.
(1998) ‘The Text of Iliad 18,603-6 and the Presence of an aoidos on the Shield of Achilles’. Classical Quarterly n.s. 48: 29-38.
(1997) ‘Cratinus’ Dionysalexandros and the Head of Pericles’, Journal of Hellenic Studies 117: 197-200.
CLA 101 Introduction to Classical Civilization
CLA 235 Ancient Visual Culture
CLA 237 Introduction to Greek Society and Culture
CLA 300 Ancient Greek Tragedy, Comedy and Satyr Play
CLA 301 Greek Epic Poetry
CLA 303 The Ancient Novel
CLA 308 Greek Religion
CLA 395 The Worlds of Sappho
CLA 404 The Greek Hero: Ideology and Cult Practice
CLA 499 Independent Studies
DRE 220 History of Performance
DRE 356 Theory of Drama
DRE 358 The Audience and the Theatre
DRE 420 20th-Century (Theatrical) Responses to Greek Tragedy
DRE 420 Classical Challenges: Receptions of Greek Tragedy, Shakespeare and Chekhov in 20th- and 21st-Century Theatrical Culture
DRE 422 Naturalism and its Critics
DRE 422 Brecht: Playwright, Theorist, Director
DRA 1003 Introduction to Theatre, Drama and Performance Studies
DRA 1011 Traditions of Performance Theory
DRA 4091 and 4092 Directed Reading
DRA 4090Y (Year-Long Directed Reading)
GRK 1000 Advanced Studies in Greek Language (Greek Prose Composition)
GRK 2000 Classics of Greek Verse
CLA 1308 Studies in Latin Literature I
GRK 1800: Greek Literature and Language
GRK 1804 Readings in Greek Tragedy
Graduate research seminars:
Tragedy: Instantiations of a Dramatic Form in Theatre, Philosophy, Opera and Popular Cinema
The Problem of Translation: Theoretical, Historical and Pragmatic Perspectives
Brecht and Greek Tragedy
Brecht: Theatre, Theory and Contexts
The Chorality of Greek Drama
Euripides in his Fragmentary Plays
The Reception Histories of Sophocles’ Oedipus the King
Aristotle’s Poetics: Text, Contexts, Reception Histories
Website based on the workshop Graduate Student Learning in the Humanities: Challenges, Best Practices, Perspectives. A Workshop, for Faculty and Graduate Students, on Graduate Student Pedagogy (Toronto, September 2013).
Primary doctoral supervisions
-Kathryn Mattison (Classics): ‘Recasting Troy in 5th-Century Attic Tragedy’
-George Kovacs (Classics): ‘Iphigenia at Aulis: Myth, Performance and Reception’
-Donald Sells (Classics): ‘Old Comedy and its Performative Rivals of the 5th Century’
-Alysse Rich (Theatre Studies): ‘Reconfiguring the Choral: Adaptations of the Greek Chorus since Word War II’ [Recipient of the Drama Centre’s Alumni Dissertation Award]
-Patrick Hadley (Classics): ‘Athens in Rome, Rome in Germany: Nicodemus Frischlin’s 1586 Translations of Aristophanes’
-Yuriy Lozynsky (Classics): ‘Ancient Greek Cult Hymns: Poets, Performers and Rituals’