Performance in Greek and Roman Theatre PDF
Preview Performance in Greek and Roman Theatre
Performance in Greek and Roman Theatre Mnemosyne Supplements Monographs on Greek and Latin Language and Literature EditorialBoard G.J.Boter A.Chaniotis K.M.Coleman I.J.F.deJong T.Reinhardt VOLUME353 Thetitlespublishedinthisseriesarelistedatbrill.com/mns Performance in Greek and Roman Theatre Editedby GeorgeW.M.Harrison VayosLiapis LEIDEN•BOSTON 2013 LibraryofCongressCataloging-in-PublicationData PerformanceinGreekandRomantheatre/editedbyGeorgeW.M.Harrison,VayosLiapis. pagescm.–(Mnemosynesupplements.MonographsonGreekandLatinlanguageand literature;353) Includesbibliographicalreferencesandindex. ISBN978-90-04-24457-3(hardback:alk.paper)–ISBN978-90-04-24545-7(e-book)1. Theater–Greece–History–To500.2.Theater–Rome–History–To500.3.Classicaldrama–History andcriticism.4.Drama–Technique.I.Harrison,GeorgeWilliamMalloryeditorofcompilation.II. Liapis,Vayoseditorofcompilation. PA3201.P442013 792.0938–dc23 2012047528 Thispublicationhasbeentypesetinthemultilingual“Brill”typeface.Withover5,100characters coveringLatin,IPA,Greek,andCyrillic,thistypefaceisespeciallysuitableforuseinthehumanities. Formoreinformation,pleaseseewww.brill.com/brill-typeface. ISSN0169-8958 ISBN978-90-04-24457-3(hardback) ISBN978-90-04-24545-7(e-book) Copyright2013byKoninklijkeBrillNV,Leiden,TheNetherlands. KoninklijkeBrillNVincorporatestheimprintsBrill,GlobalOriental,HoteiPublishing, IDCPublishersandMartinusNijhoffPublishers. Allrightsreserved.Nopartofthispublicationmaybereproduced,translated,storedin aretrievalsystem,ortransmittedinanyformorbyanymeans,electronic,mechanical, photocopying,recordingorotherwise,withoutpriorwrittenpermissionfromthepublisher. AuthorizationtophotocopyitemsforinternalorpersonaluseisgrantedbyKoninklijkeBrillNV providedthattheappropriatefeesarepaiddirectlytoTheCopyrightClearanceCenter, 222RosewoodDrive,Suite910,Danvers,MA01923,USA. Feesaresubjecttochange. 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CONTENTS Abbreviations........................................................... ix Introduction:MakingSenseofAncientPerformance................... 1 VayosLiapis,CostasPanayotakis,andGeorgeW.M.Harrison OPSIS,PROPS,SCENE TheMisunderstandingofOpsisinAristotle’sPoetics ................... 45 G.M.Sifakis ProppingUpGreekTragedy:TheRightUseofOpsis.................... 63 DavidKonstan GeneralizingaboutProps:GreekDrama,ComparatorTraditions,and theAnalysisofStageObjects ....................................... 77 MartinRevermann Actors’PropertiesinAncientGreekDrama:AnOverview.............. 89 RobTordoff SkenographiainBrief................................................... 111 JocelynPennySmall GREEKTRAGEDY AeschyleanOpsis ....................................................... 131 A.J.Podlecki TheatricalityandVotinginEumenides:“ψῆφονδ’᾽Ορέστηιτήνδ’ἐγὼ προσθήσοµαι” ....................................................... 149 GeoffreyW.Bakewell UnderAthena’sGaze:Aeschylus’EumenidesandtheTopographyof Opsis................................................................ 161 PeterMeineck vi contents Heracles’CostumefromEuripides’HeraclestoPantomime Performance........................................................ 181 RosieWyles WeaponsofFriendship:PropsinSophocles’PhiloctetesandAjax ...... 199 JudithFletcher Ske¯ne¯,AltarandImageinEuripides’IphigeniaamongtheTaurians .... 217 RobertC.Ketterer StagingRhesus.......................................................... 235 VayosLiapis GREEKCOMEDY ThreeActorsinOldComedy,Again .................................... 257 C.W.Marshall ‘TheOdeiononHisHead’:CostumeandIdentityinCratinus’ ThracianWomenfr.73,andCratinus’TechniquesofPolitical Satire ............................................................... 279 JeffreyS.Rusten RehearsingAristophanes ............................................... 291 GrahamLey ROMEANDEMPIRE Haven’tISeenYoubeforeSomewhere?OpticalAllusionsin RepublicanTragedy ................................................ 311 RobertCowan Aniciusvortitbarbare:TheScenicGamesofL.AniciusGallusandthe AestheticsofGreekandRomanPerformance...................... 343 GeorgeFredricFranko Otium,OpulentiaandOpsis:Setting,PerformanceandPerception withinthemise-en-scèneoftheRomanHouse ..................... 361 RichardBeacham TowardsaRomanTheoryofTheatricalGesture ........................ 409 DorotaDutsch contents vii Lucian’sOnDanceandthePoeticsofthePantomimeMask ............ 433 A.K.Petrides Pantomime:VisualisingMythintheRomanEmpire ................... 451 EdithHall INTEGRATINGOPSIS StringedInstrumentsinFifth-CenturyDrama.......................... 477 GeorgeA.Kovacs Bloody(Stage)Business:MatthiasLanghoff’sSparagmosof Euripides’Bacchae(1997)........................................... 501 GondaVanSteen FromSculpturetoVase-Painting:ArchaeologicalModelsforthe Actor ............................................................... 517 FionaMacintosh Bibliography ............................................................ 535 IndexofSubjects ....................................................... 579 IndexofPassages ....................................................... 586 IndexofGreekWords................................................... 591 ABBREVIATIONS AllabbreviationsfollowL’AnnéePhilologique,towhichareadded: ANRW AufstiegundNiedergangderrömischenWelt(BerlinandNewYork1972–) ARV2 Beazley,AtticRed-figureVasePainters,Oxford1963. BAD BeazleyArchiveDatabase,http://www.beazley.ox.ac.uk.pottery. CIL CorpusInscriptionumLatinarum. LCL LoebClassicalLibrary,Cambridge,Mass. LIMC LexiconIconographicumMythologiaeClassicae,vols.1–8.Zurich1981–1997. LSJ H.G.Liddell,R.ScottandH.S.Jones(eds.),AGreek-EnglishLexicon(Oxford 19409)withRevisedSupplementbyP.G.W.GlareandA.A.Thompson(Oxford 1996). OLD Glare(ed.),OxfordLatinDictionary.Oxford1982. PG Migne,PatrologiaeCursus,seriesGraeca. PL Migne,PatrologiaeCursus,seriesLatina.
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