"In recent years, classicists have begun aggressively to explore the impact of performance on the ways in which Greek and Roman plays are constructed and appreciated, both in their original performance context and in reperformances down to the present day. While never losing sight of the playscripts, it is necessary to adopt a more inclusive point of view, one integrating insights from archaeology, art, history, performance theory, theatre semiotics, theatrical praxis, and modern performance reception. This volume contributes to the restoration of a much-needed balance between performance and text: it is devoted to exploring how performance-related considerations (including stage business, masks, costumes, props, performance space, and stage-sets) help us attain an enhanced appreciation of ancient theatre"--Publisher's website.

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nexusstc/Performance in Greek and Roman Theatre/6baa7e49089459fb8f7f6e15a109c454.pdf

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zlib/Arts/Performing Arts/George W.M. Harrison, Vayos Liapis/Performance in Greek and Roman Theatre_2083130.pdf

George William Mallory Harrison; Vaios Liapes

edited by George W.M. Harrison, Vayos Liapis

George W. M Harrison; Λιαπής, Βάιος

TeX

Mnemosyne, bibliotheca classica Batava, 353, Leiden, 2013

Mnemosyne <Leiden> / Supplementum, Leiden, 2013

Brill Academic Publishers, Leiden, 2013

Netherlands, Netherlands

Multilingual, PS, 2013

0

lg929018

producers:
pdfTeX-1.40.11

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Includes bibliographical references and index.

MiU

Performance in Greek and Roman Theatre 4
Contents 6
Abbreviations 10
Vayos Liapis, Costas Panayotakis, and GeorgeW.M. Harrison: Introduction: Making Sense of Ancient Performance 12
I. Ancient Greek Theatre and Performance Criticism 13
Performance Space and Its Uses 13
Performance and Its Agents: Actors, Masks, Chorus 17
Performance and Iconography 22
Contextualizing Performance 24
II. Roman Drama in Performance 28
Overview of Scholarship 28
Republican Theatre 33
Imperial Drama 39
III. An Outline of the Contributions to This Volume 42
Setting the Stage 42
Greek Tragedy 45
Greek Comedy 47
Rome and Empire 49
Integrating Opsis 51
Opsis, Props, Scene 54
G.M. Sifakis: The Misunderstanding of Opsis in Aristotle's Poetics 56
Aristotle in Con􀀀lict with Himself? 57
What Does the Text of Poetics Ch. 6 Really Say? 59
The Present and the Missing Terms 63
‘Nontechnical’ in Poetics and Rhetoric 65
The Vanishing Art 69
Aristotle’s Advice to Aspiring Playwrights 70
David Konstan: Propping Up Greek Tragedy: The Right Use of Opsis 74
Martin Revermann: Generalizing about Props: Greek Drama, Comparator Traditions, and the Analysis of Stage Objects 88
I. The Power of Props 88
II. A Broader Approach 90
III. Situating the Use of Stage Objects in the Greek Theatre 94
IV. Visual Narratives with “Stories to Tell” 96
Rob Tordoff: Actors' Properties in Ancient Greek Drama: An Overview 100
Jocelyn Penny Small: Skenographia in Brief 122
Greek Tragedy 140
A.J. Podlecki: Aeschylean Opsis 142
Supernumeraries 142
Masks and Costumes 143
Silences 144
Choreography 145
Monsters? 145
Opsis in the Extant Works 147
Persians 147
Seven against Thebes 148
Suppliant Women 149
Oresteia 151
Agamemnon 151
Libation Bearers 152
Eumenides 152
Opsis in the Lost Plays 154
Geoffrey W. Bakewell: Theatricality and Voting in Eumenides: "ψῆφον δ' Ὀρέστηι τήνδ' ἐγὼ προσθήσομαι" 160
Peter Meineck: Under Athena's Gaze: Aeschylus' Eumenides and the Topography of Opsis 172
Rosie Wyles: Heracles' Costume from Euripides' Heracles to Pantomime Performance 192
Conclusion 207
Judith Fletcher: Weapons of Friendship: Props in Sophocles' Philoctetes and Ajax 210
I. The Bow 213
II. The Sword 221
III. Conclusion 226
Robert C. Ketterer: Skēnē, Altar and Image in Euripides' Iphigenia among the Taurians 228
Vayos Liapis: Staging Rhesus 246
Rhesus’ Chariot-Entry and Rhesus’ Archaisms 246
Constructing Theatrical Space 248
Exits and Entrances; the Movements of Chorus and Actors 250
Dolon’s Entrance 253
Stagecraft Virtuosity 254
The Stagecraft of Rhesus: Oddities and Failures 257
How Many Actors? The “Alexander Scene” Again 261
Greek Comedy 266
C.W. Marshall: Three Actors in Old Comedy, Again 268
I. Context 268
II. Evidence 271
III. Birds: The Trouble with Triballians 275
IV. Demands on Actors 283
V. Why It Matters 286
Jeffrey S. Rusten: 'The Odeion on His Head': Costume and Identity in Cratinus' Thracian Women fr. 73, and Cratinus' techniques of political satire 290
I. The Form of Cratinus’ Attacks on Pericles 290
II. Cratinus’ Thracian Women, Fr. 73 291
III. Zeus’ Polos in Vase-Paintings of Greek Comedy 292
IV. Cratinus’ Onomastic Satire 299
Graham Ley: Rehearsing Aristophanes 302
Texts, Scripts and Rehearsal in Ancient Greece and Renaissance England 303
Be Prepared—Or Unprepared? Rehearsal and the Scripts of Aristophanes 312
Rome and Empire 320
Robert Cowan: Haven't I Seen You before Somewhere? Optical Allusions in Republican Tragedy 322
Déjà-vu All Over Again: Visual Allusion and Ancient Drama 328
Ecce iterum ... Visual Allusions on the Republican Stage 340
George Fredric Franko: Anicius vortit barbare: The Scenic Games of L. Anicius Gallus and the Aesthetics of Greek and Roman Performance 354
Richard Beacham: Otium, Opulentia and Opsis: Setting, Performance and Perception Within the mise-en-scène of the Roman House 372
The Mise-en-Scène of the House 375
The Front Portions of the House 376
The Street 377
The Vestibulum/Fauces 380
The Atrium 383
The Villa of Oplontis Atrium 392
The Tablinum 396
The Peristyle 402
Dorota Dutsch: Towards a Roman Theory of Theatrical Gesture 420
Introduction 420
The Universal Language 420
Theatrical and Rhetorical Acts 430
On Action and Acting 432
Gestus ad verba and Late Antique Tradition 434
Conclusion 440
A.K. Petrides: Lucian's On Dance and the Poetics of the Pantomime Mask 444
1. Introduction 444
2. (Un)Classical Genres 445
3. “Expressive” and Other Masks 450
4. Conclusion 456
Edith Hall: Pantomime: Visualising Myth in the Roman Empire 462
Inegrating Opsis 486
George A. Kovacs: Stringed Instruments in Fifth-Century Drama 488
Gonda Van Steen: Bloody (Stage) Business: Matthias Langhoff's Sparagmos of Euripides' Bacchae (1997) 512
I. Moving Target: Re(dis)covering Road Stop Thebes 513
II. Opsis (on the) Offense: Crude Culture off the Ethnike Odos 517
III. A Tradition in Greece and a Tradition of Greeks: Theater and Cultural Consciousness 522
Conclusion: Unsettling Theater Rites 526
Fiona Macintosh: From Sculpture to Vase-Painting: Archaeological Models for the Actor 528
I. The Sculptural Ideal 530
II. Mounet-Sully’s Forebears 532
III. Mounet-Sully 536
IV. The Choral Frieze 539
Bibliography 546
Index of Subjects 590
Index of Passages 597
Index of Greek Words 602

Introduction / Vayos Liapis, George W.M. Harrison, and Costas Panayotakis
Opsis, props, scene. The misunderstanding of 'opsis' in Aristotle's 'poetics' / G.M. Sifakis
Propping up Greek tragedy: the right use of opsis / David Konstan
Generalizing about props: Greek drama, comparator traditions, and the analysis of stage objects / Martin Revermann
Actors' properties in ancient Greek drama: an overview / Rob Tordoff
Skenographia in brief / Jocelyn Penny Small
Greek tragedy. Aeschylean opsis / A.J. Podlecki
Casting votes in Aeschylus / Geoffrey W. Bakewell
Under Athena's gaze: Aeschylus' 'Eumenides' and the topography of opsis / Peter Meineck
Heracles' costume from Euripides' 'Heracles' to pantomime performance / Rosie Wyles
Weapons of friendship: props in Sophocles' 'Philoctetes' and 'Ajax' / Judith Fletcher
'Skene', altar and image Euripides' 'Iphigeneia among the Taurians' / Robert C. Ketterer
Staging 'rhesus' / Vayos Liapis
^
Greek comedy. Actors in old comedy, again / C.W. Marshall
'The Odeion on his head': costume and identity in Cratinus' Thracian women: Fr. 73 / Jeffrey S. Rusten
Rehearsing Aristophanes / Graham Ley
Rome and empire. Haven't I seen you before somewhere? optical allusions in Republican tragedy / Robert Cowan
Anicius vortit barbare: the scenic games of l. Anicius Gallus and the aesthetics of Greek and Roman performance / George Fredric Franko
Otium, opulentia and opsis: setting, performance and perception within the Mise-en-scene of the Roman house / Richard Beacham
Towards a Roman theory of theatrical gesture / Dorota Dutsch
Lucian's 'on dance' and the poetics of the pantomime mask / A.K. Petrides
Pantomime: visualising myth in the Roman Empire / Edith Hall
Integrating opsis : stringed instruments in fifth-century drama / George A. Kovacs
Bloody (stage) business: Matthias Langhoff's Sparagmos of Euripides' 'Bacchae' / Gonda Van Steen
^
^^
From sculpture to vase-painting: archaeological models for the actor / Fiona Macintosh.
^^

Drawing on insights from various disciplines (philology, archaeology, art) as well as from performance and reception studies, this volume shows how a heightened awareness of performance can enhance our appreciation of Greek and Roman theatre.

2013-06-16