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Why are there so few high points in the history of theatre? What was it about Ancient Greek theatre, Elizabethan dramaturgy and Racine's 17th-century France that made them particularly able to respond to and create high points in tragic drama?

About the Author

Nicholas Dromgoole's published work includes 'The Playwright as Rebel' and 'Sibley and Dowell', a portrait of one of the great dance partnerships of our time, as well as many introductions to volumes of classical and contemporary drama. For over thirty years hs was dance critic for the Sunday Telegraph and a regular contributor to other magazines and newspapers including The Times and Punch. He has lectured widely on drama and drama history and contributed to various arts broadcasts on radio and television.