Editing Tony Harrison (section)

==Reception==
[[Richard Eyre]] calls Harrison's 1990 play, ''[[The Trackers of Oxyrhynchus]]'' "among the five most imaginative pieces of drama in the 90s". [[Jocelyn Herbert]], famous designer of the British theatrical scene, comments that Harrison is aware of the dramatic visual impact of his ideas: "The idea of satyrs jumping out of boxes in Trackers is wonderful for the stage. Some writers just write and have little idea what it will look like, but Tony always knows exactly what he wants."<ref name="The Guardian">{{cite news|title=The Guardian Profile: Tony Harrison Man of mysteries|url=https://www.theguardian.com/books/2000/apr/01/poetry.theatre|access-date=17 May 2013|newspaper=The Guardian|date=1 April 2000}}</ref>

[[Edith Hall]] has written that she is convinced that Harrison's 1998 [[film-poem]] ''[[Prometheus (1998 film)|Prometheus]]'' is "artistic reaction to the fall of the British working class" at the end of the twentieth century,<ref name="Edith Hall"/><ref name="Hardwick2003">{{cite book|author=Lorna Hardwick|title=Reception Studies|url=https://books.google.com/books?id=eKYSc5RDMncC&pg=PA84|access-date=12 May 2013|date=15 May 2003|publisher=Cambridge University Press|isbn=978-0-19-852865-4|pages=84–85}}</ref> and considers it as "the most important adaptation of classical myth for a radical political purpose for years" and Harrison's "most brilliant artwork, with the possible exception of his stage play ''The Trackers of Oxyrhynchus''".<ref name="Edith Hall">{{cite web|title=Tony Harrison's Prometheus: A View from the Left|url=http://www.bu.edu/arion/files/2010/03/Hall-Harrison-Prometheus.pdf|author=Edith Hall|author-link=Edith Hall|quote=...&nbsp;an essential requirement in a film where the most unlikely wheezing ex-miner is slowly made to represent Prometheus himself}}</ref>

Professor [[Roger Griffin]] of the Department of History at [[Oxford Brookes University]], in his paper ''The palingenetic political community: rethinking the legitimation of totalitarian regimes in inter-war Europe'', describes Harrison's film-poem as "magnificent" and suggests that Harrison is trying to tell his audience
"To avoid falling prey to the collective mirage of a new order, to stay wide awake while others succumb to the [[lethe]] of the group mind, to resist the gaze of modern Gorgons".<ref name=Griffin>{{cite journal|title=The palingenetic political community: rethinking the legitimation of totalitarian regimes in inter-war Europe.|journal=[[Totalitarian Movements and Political Religions]]|date=December 2002|volume=3|issue=3|pages=24–43|url=http://ah.brookes.ac.uk/resources/griffin/palingcomm.pdf|author=Roger Griffin|doi=10.1080/714005484|s2cid=143065785 }}{{dead link|date=November 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>