Comic business : theatricality, dramatic technique, and performance contexts of Aristophanic comedy

419 Pages·2011·2.32 MB·English

by  Revermann

COMIC BUSINESS
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Comic Business
Theatricality, Dramatic Technique, and
Performance Contexts of Aristophanic Comedy
MARTIN REVERMANN
1
3
GreatClarendonStreet,Oxfordox26dp
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Preface
Mydebtsaremany,andImaybeforgivenformentioningonlythose
most obvious to me. Pride of place belongs to four inspiring and
good-humoured friends: Ewen Bowie, Eric Csapo, Alan Sommer-
stein, and Oliver Taplin. Ewen, Eric, and Alan generously read and
commented on a number of sections at various stages. While my
indebtednesstoOliver’sseminalpublishedworkisapparentonevery
single page, his gentle, well-meaning, and open-minded personal
guidance has been equally formative. To Edith Hall and Stephen
HalliwellIowethanksforincisiveandbenigncriticism.NigelWilson
generouslyallowedmetoconsultthemanuscriptofhisnewOxford
ClassicalTextseditionofAristophanes.
Ialsotakethisopportunitytoexpressmygratitudetothosewho,
sometimeagoandintheirown(verydifferent)ways,nourishedmy
enthusiasm for intellectual engagement with ancient culture: Dieter
Bremer, Christian Gnilka, the late Friedhelm Moser, Rainer Spieker,
WilfriedStroh,andthelateHermannWankel.Thanksarealsodueto
a variety of institutions for granting material and immaterial sup-
port,oftenoveryears:theStudienstiftungdesdeutschenVolkes(Bonn/
Berlin), the Rhodes Trust (Oxford), Corpus Christi College and
Magdalen College (Oxford), Harvard’s Centre for Hellenic Studies
(Washington, DC), as well as the University of Toronto. Merton
College (Oxford) must be singled out. Its vibrant community pro-
videdsupportandencouragementatanimportanttime.
I conclude on a personal note. Annette Baertschi, ŒÆ(cid:1)(cid:2)(cid:3)æ
(cid:4)(cid:5)º(cid:6)(cid:7)(cid:3)(cid:8) (cid:9)~PP(cid:10)Æ, was a noble, loving, and loyal companion for much
of the journey, while I was blessed with the affection of Monika
Delmos when completing it. Thanks which cannot be expressed in
wordsIowetomyparents,especially mymother.
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Contents
ListofPlates ix
ListofFiguresandTables xi
ListofAbbreviations xii
PART I. ISSUES
1. ComicBusiness 3
2. PerformanceCriticism:PointandMethods 8
2.1 Textsas(Competitive)Performances 8
2.2 ‘Performance’and‘Analysis’:Some
ConceptualGroundwork 25
2.3 AnalyseWhat?ReconstructingaPerformance
fromaText 46
3. TwoFundamentalProblems 66
3.1 HowAuthenticistheTransmittedPerformance
ScriptinViewofReperformances? 66
3.2 HowTypicaloftheGenreisAristophanicComedy? 95
4. ApplyingPerformanceCriticism 107
4.1 Space 107
4.2 Proxemics 129
4.3 ComicUgliness 145
4.4 PerformanceandAudience 159
PART II. THREE PLAYS
5. Clouds 179
6. Lysistrata 236
7. Wealth 261
viii Contents
APPENDICES
A ComicBusinessinAristophanes’Rivals 299
B AuthorialStageDirectionsinAncientDramaticTexts? 320
C WhowastheSecondVersionofCloudsWrittenfor? 326
D PerformanceTime 333
References 338
Indexes 365
List of Plates
1. ApollopurifiesOrestes.Apulianbellcrater,c.370bce
(Paris,LouvreCp710.Photo:M.andP.Chuzeville).
2. ‘Wu¨rzburgTelephus’.Apulianbellcrater,c.370bce
(Wu¨rzburg,MartinvonWagnerMuseumH5697.
Photo:K.O¨hrlein).
3. ‘BerlinHeracles’.Apulianbellcrater,375–350bce
(formerlyBerlin,StaatlicheMuseenF3046,destroyed
orplundered).
4. Apulianreliefguttus,c.330–320bce(Naples,Museo
NazionaleSantangelo368).
5. ‘St.AgataAntigone’.Apulianbellcrater,c.370bce
(S.AgatadeiGoti1,formerlyRainoneCollection.Drawing
fromTaplinCA22afterPanofka).
6. Choregoivase.Apulianbellcrater,400–380bce
(Malibu,J.P.GettyMuseum96.AE.29).
7. ‘ClevelandDionysus’.Apulianbellcrater,400–380bce
(Cleveland,ClevelandMuseumofArt,JohnL.Severance
Fund1989.73).
8. ‘GettyBirds’.Atticcalyxcrater,c.410bce
(Malibu,J.P.GettyMuseum82.AE.83).
9. (a)and(b).‘Nikechous’.Atticjug,c.410bce
(Paris,LouvreN3408.Photo:M.andP.Chuzeville).
10. Wingedphallussherd.Apulian,350–325bce
(Boston,HarvardUniversityArtMuseumsTL39339.48).
11. Zeus,Hermes,and‘beautyinthewindow’.Paestanbell
crater,c.350bce(Rome,VaticanU19(inv.17106).
Photo:Scala/ArtResource,NewYork).
12. ChousfromAnavyssos.Atticjug,c.420bce
(drawingbyE.R.Malyon).