In recent times, classicists have began aggressively to discover the influence of functionality at the ways that Greek and Roman performs are built and liked, either of their unique functionality context and in reperformances right down to the current day. whereas by no means wasting sight of the playscripts, it is important to undertake a extra inclusive perspective, one integrating insights from archaeology, artwork, heritage, functionality concept, theatre semiotics, theatrical praxis, and glossy functionality reception. This quantity contributes to the recovery of a much-needed stability among functionality and textual content: it really is dedicated to exploring how performance-related issues (including degree enterprise, mask, costumes, props, functionality house, and stage-sets) aid us reach an greater appreciation of historical theatre.
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Cf. Beare (31964) 235: “It is incredible that Seneca, one of the richest men in Rome and a man who openly admits his distaste for close contact with the common people or their amusements, should have composed plays intended to win the favour of the general public. ” 57 Before Zwierlein (1966) see Marti (1945), who had argued that the tragedies of Seneca were meant to be read as a group representing a corpus of philosophical (Stoic) propaganda. See Franko in this volume. , Pl. As. 11, Trin. 19; Ter.
In his quest for a theory of props, Revermann fascinatingly brings to bear comparator traditions, especially Western naturalism and Japanese theatre traditions. Rob Tordoff’s paper on “Actors’ Properties in Ancient Greek Drama” ventures a quantitative analysis of Greek theatre properties, cataloguing the props required for (or known to have been used in) the performance of Greek drama, showing to what extent each play utilizes props and what kinds of props are resorted to. e. the frequency with which props (but also costume and scenery items) are likely to have been used.
Integrating Opsis This final section concerns ways in which non-theatre arts or elements are integrated into the opsis of theatrical performance. It is also related to modern receptions and perceptions of visuality in relation to the staging and performance of tragedy. George Kovacs in “Stringed Instruments in Fifth-Century Drama” points out that the complex polarity between lyra and aulos in classical Athens (with Athenians privileging the former over the latter, socially and aesthetically) was inverted on the stage: it is the aulos that was the primary instrument in these most prestigious and public events.